Remembering Millàs, this short piece contains the melodic potential of the chosen medieval song in the form of variations, using a discreet modal language with brief dissonances that do not affect the consistency of the musical approach.
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When my dear, esteemed friend Víctor Garcia de Gomar asked me to write a piece for his eight-year-old daughter, Chloe, the first thing that came into my head was the wonderful impression the Castle of Millàs had on me, in the county of Gironès, which had been in their family since the 11th century.
While I was looking for some kind of historical relationship between the Castle and my future composition, I came across a melody from the 15th century, Le Roi Renaud, in the version performed by the great Yvon Le Marc’hadour as part of the album Chansons de Troubadours et Chants Populaires. I had collaborated in the past with Le Marc’hadour, accompanying some of the songs in her repertoire on the spinet, such as the 15th century song “L’amour de moi”.
With regard to the resulting work, Remembering Millàs, this short piece contains all the simplicity that the circumstances call for yet also highlights the melodic potential of the chosen medieval song in the form of variations, using a discreet modal language with brief dissonances that do not affect the consistency of the musical approach.
Important note: The circled notes should be played more fully and expressively than the others to highlight the melodic motif of Le Roi Renaud.