Matin de brume

"This is another in Roux's continuing series of Scènes Panoramiques and is in two movements; the first being Quiétude. This begins with a 6th string on F that gives the work an odd, almost modal sound to its harmonies, as although it is set in F, B naturals are in constant attendance. The main idea also has a gently rocking feel to it which continues for 40 bars until accidentals start entering the music. From here the music gets noticeably harder as more and more flats enter the fray. Just when you wonder where it is musically going a new idea marked Misterioso appears in the remote key of E minor, and, incidentally, directly after a chord of Bb major. Now the music steers ever more into 'sharp' territory until a sudden change of style brings in a repeated chord idea that begins pianissimo and over 20 or so bars becomes fff and finds one up way beyond fret 12 for the climactic moment that then abruptly changes back into modal F for an eventual reiteration of the opening idea, which closes over a harmonic F#. Then the second movement, À Perte de Vue, begins with the 6th string F back down to E, and a rhythmic 7/8 idea that starts quite simply rocking over two repeated notes but quickly becomes busier until one is four-note ideas repeating in a complex pattern that will task your RH technique as much as your left. One or two very large stretches prove a little unfriendly even for me with my huge LH span. [...] Shortly after this, things quieten down again, only to gradually build up for another different climax a little further on. After this a final climb down takes us unexpectedly into the opening of the previous movement with its modal F. An eight-bar repeating diminuendo takes the work to an Al Niente instruction. This is a considerable work, of quite some length and difficulty and which will task all but the most advanced of players. As always, Roux manages to make his music completely original, and succeeds in making it sound completely fresh and original, never relying on the obvious harmony to make his point. If you have seen his work before, you will know what to expect and I can only imagine that there are plenty of guitarists waiting in the wings to give it a try."

Chris Dumigan (Classical Guitar Magazine)