Works for piano constitute a large part of Louis-NoŽl Belaubreís opus, of which the clarity of the melodic line is the foremost quality. Obvious although unpredictable, it often reigns supreme with the tempi dictated by it. The free nature of his soaring lyrical outbursts is confirmed by a variable and often irregular metreÖ

     This taste for irregular rhythms derives from his knowledge of popular music, particularly that of central Europe, thanks to the influence of Bartok. For Louis-NoŽl Belaubre, no single musical parameter can be taken into account in isolation, therefore complete control over the way the sounds are organised vertically remains essential for him, absolutely nothing can or should be left to chance. The harmonic series follow a highly original logic but are always based on affinities and attractions between sounds ; this gives music of a tonal nature, where dissonance takes on its real dynamic and expressive value, music that is constantly changing, ambiguous, always unpredictableÖBy his deliberate refusal of any system, his choice of an empirical process for his compositions, and the constant references to the realities of musical perception, Louis-NoŽl Belaubre has developed a musical language that respects the auditive awareness of the listener and even invokes its active participation. The presence of certain " landmarks " means that musical time is understood by the memory moving backwards and forwards in real time.

     Louis-NoŽl Belaubre has deliberately chosen to remain outside musical fashions so as to find his own original style, where the possibilities of each instrument are explored and exploited to the full and where the tangible qualities of a language so obviously rooted in European culture are brought to the fore.


 Extract from the article of the Bordas dictionnary (Marc Honegger)
Marc Honegger (Vice-President of " International Society  of  musicology " between 1982 & 1992).



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