To compose the essence of this first repertoire, Adèle Viret chose to return to the piano in her childhood home, like a return to the ordinary landscape, to the customary stories of family and music. Without any prior plan other than opening the way for spontaneous impulses, she let her hands freely glide across the keyboard, making the strings and hammers dance. And from this raw gesture, she wove a preliminary framework around which to blend her cello with the voices of three beloved musicians: Oscar Viret, the fraternal accomplice on the trumpet, Wajdi Riahi on the piano, and Pierre Hurty on drums.

The instrumentation of this quartet aims to be unique, taking us into a chamber-like atmosphere where the sharing of roles, relays, and permutations are as essential as a generous dose of mischief and audacity. There is complete mutual trust, and we sail tenderly between horizons that sometimes seem bathed in Mediterranean shores, and others where the sky becomes more uncertain, perhaps stormy, like a downpour flooding the Flanders in joyous Noahs exclaiming, "« Godzijdank ! het regent ! », (Thank God! It's raining!") Unless it is already a prelude to reverie or an invitation to fugue. Amidst bursts, pas de deux, then three, then four, we embark, and along the way, echoes of equinoctial tides, vast spaces, and youthful rolling resound within us!

Text: Robin Mercier | Photo: Julia Gat