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Charles Bodman Whittaker - Viola Music Hall - Guildhall School of Music and Drama November 2020 Philippe Hersant (b.1948) Philippe Hersant, a composition student of André Jolivet at the Paris Conservatoire in the 1960s, wrote his Pavane for solo viola in 1987 for the distinguished French violist Gérard Caussé to whom the work is dedicated. The work takes its title from the pavane dance style and, according to Hersant,was inspired by the Scottish viola da gamba player Tobias Hume who wrote for his instrument at the turn of the 17 th century. The opening motif, which features heavily throughout the piece, alludes to one of Hume’s pieces and is intended to evoke the melancholy spirit of the dance of the pavane. Hersant’s music evolves from sound images, a common feature of his music being the projection of a single, stable idea such as a chord or recurrent motif. Another important idea in his music is that of ‘memory’, both near and distant. Both of these are illustrated in the Pavane by the recurring C-E flat motif that opens, and defines, the piece. This incessant motif is gradually juxtaposed against an E natural in the middle section, and this dissonance highlights the contrasts between these near and distant memories. The piece begins slowly and gradually develops in a succession of concentric circles, building in intensity towards a dissonant chordal climax. Hersant has explained that he originally thought of two possible endings – one harmonic, the other using pizzicato – but eventually decided to use both ideas. The repeated pizzicatos gradually fade into silence and the piece does not have a closing double bar line. This work also uses the acoustics of silence to enhance the piece with sudden breaks in the sound during loud intense passages as well as expressive fade-outs. Therefore, the Pavane can really be thought of as a ‘duet’ between solo viola and the acoustics of the hall. Copyright: Charles Bodman Whittaker