WILHEM LATCHOUMIA 29 Séverac’s music, more richly coloured, at times even virtuosic, calls for a different interpretative approach, akin to that of the organ, an instrument that the composer himself played. In his piano writing, we sense an almost instinctive need for a pedalboard. It is up to us to translate these effects onto the keyboard, bearing in mind that some of the expression markings indicated in the score are not always simple to interpret. Finally, Albéniz challenges the performer to surpass him/herself on a technical level. The manner in which he structures his chords, distributes notes between the fingers, and calls for hand crossings is challenging for the performer, yet it brings immense tactile pleasure. I also wanted to include in this programme an early work, less overtly demonstrative, which moves me deeply. It evokes autumn and resonates with the melancholy found in the cycles by Mompou and Séverac.
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