Within about one hundred of my compositions are a number of works, which, sometimes years apart, require in the equal or similar instrumentation the same idea and thus become as it were couples.
As in Trois Scènes for harmonium d'art and piano the now solistic Trois Nouvelles Scènes are three sets led by dance imaginations.
Become more different than the older work, each of these three parts goes its own way:
On a floating "sound piece" follows a woodcut-like, interrupted by pauses, hesitant-fragmentary movement. It is then completed by a retired singing ostinato-structure which to the end coincides with the re-start of the composition.
In such triad of harmonics, punctual and quasi polyphonic the almost forgotten, exceedingly charming instrument provides hints on the variety of its possibilities, which would make it's revival desirable and thinkable.