Beside my initial concern to use the proper technique of violin with its multiple aspects (usual or new), Chakra tries to answer my own present musical preoccupations:

. processing of the harmonic mass considered as a unique object.

. progressive diversion by slow mutation of the compositional process.

. search of germs or musical cores containing within themselves a very strong energetic potential.

. extreme streching of the musical phrase (melodic aspect) with minute dividing of the internal texture, then symetrical or asymetrical return.

. writing in counterpoint with 2 voices, with internal dividing within each of them.

. specific work on the intensity, treated here as a noble musical and non-anecdotical parameter, with as a direct consequence an approach of the total independence of the performer’s 2 hands (dissociation pitch / intensity).

The general structure of this quartet is made of 3 large distinct parts. The first and third parts, very dense, each composed of three different sections, frame and contrast with the second monolithic part, which is quiet and very meditative.

3A