Jean Pierre Prudent

Note regarding the interpretation of all of my compositions:




All of the following is indicative and may be adapted. />


• The nuances, as long as we don't go from a
written pianissimo to a played forte.

• The tempos as long as we do not go from a
quarter note written at 60 to a quarter note played at 120.


• piano pedals

• organ registration

• instrumentation which can be modified according
to the principles of variable geometry (see the description
of my writing style)



The pieces can be interpreted quite freely as long as the
spirit is not altered. To get an idea, you can listen to my
own interpretations here or on Bandcamp.



Finally, all partitions can, if necessary, be reformatted on
request (write me).

All scores presented here do not show the same interest when
interpreted.

Some are written for a solo instrument or small orchestras
and played in a "conventional" approach, others
are more variable and freely adaptable in orchestration or
include partially improvised parts.

To understand how to interpret this music you can refer to
the elements of style that are clearly outlined at the start
of "simples geometries" for piano.

Some pieces are to be played with rigor, others need the
player to be imaginative and "interpret" freely
but by keeping the spirit of the writing which is then
understood as a guide rather than as a rigorous plane.




Moreover, some of the musics presented here were recorded by
Osirys, the collective in which JPP plays his music, and are
available on most download or streaming platforms. You can,
if you want, inspire you with these versions for your own
interpretation ....

I don't know if I can call myself a musician, I've
made music all my life like others build a palace without
ever having met an architect or having learned how to do
it.



My goal is to make my music live, not necessarily that I
live from it. I sincerely think that being professional
wouldn't have changed a note of what I wrote. For
someone who wants to be a composer or creator first and
foremost, being professional or not doesn't change
anything. Raw Art, because that's a bit of what
I'm talking about, is only practiced within an
individual way of life where social status and profession do
not intervene.



hence, for me, the importance of putting music, and music
alone, at the center of the system.



So yes, you can call me "AMATEUR". And this term
quickly evokes the good Sunday artist for the school
festival. But it is also a very great strength, because the
work is then free of any constraint. I can do what I want,
when I want, how I want, if I want. So no pressure, total
freedom of artistic choices. The future must be in raw art,
not in business. The Result can then present rough edges,
because it does not come out of any sanitized and
standardized mold and does not seek the consent of any peer.
Art brut is not necessarily as it should be, it is as I
perceive it, just to humanize a universe that is otherwise
devoid of meaning.



(and creation outside of this freedom is furniture, just a
pretty decor. When you think about it well: artist/creator
should never be thought of as a profession. For me, the
painters of Lascaux did not paint by professionalism,
because it was their job, even less to become rich or
famous, but rather because they had the feeling of
participating intimately in the magic of the world through
shamanic trances. There are very good craftsmen who can even
be better technicians than some artists. But here is an
example that clearly marks the boundary between the two. On
a chair made by a craftsman, which may be very beautiful,
you will ultimately have to be able to sit down. On the
artist's chair whether we can sit down or not: who
cares. The bulls of Lascaux were not edible...).



Why do I speak like this to characterize my music or my
texts?

Without any pretension, and especially without me finally
thinking of being "above the fray". I don't
take myself for a genius out of the world, far from it... />
My work is only the result of an individual life, and
nothing else.

I see my creations only for themselves, because I have to
bring them to life and I like that.

In fact: creating is my own shamanic trance.



And of all his "principles" I am absolutely not an
ayatollah. These ideas are simply the translation of a
personal approach. There are many ways to create works that
will have nothing in common with my music, and that's
good! But for me, that's how it works.