I like to think of Impostores as a kind of mosaic. This title derives especially from the continually changing appearance and organization of motifs in the first section. Indeed, their identity, although assured by recurrent general associations (concerning register, contour, articulation, rhythmic profile, and grouping), is constantly enriched by new perspectives. This type of texture then results from a procedure involving modular (as to event sequence) and molecular (as to event constitution) variations. Another technique inspired by the tiles of a mosaic is the imbrication (of dynamics, note lengths, attacks...), which is ubiquitous throughout the work.
Year of composition
Clarinette, basson, cor and piano