In the duet autre (other), the development of the choreographic phrases is dominated by the notion of distance. At first, distance separates the bodies. The progression of the two people through space creates a confrontation of gestures. This stems from the quick, light and aerial movements of the first person and the slow, retained and grounded movements of the other. The different timings superimpose, and the distance reduced by means of the glances exchanged between the two people. The distance is dwarfed by the progressive attempt of bringing these two bodies together as well as by the languor of the instrumentalist's song and it's resulting melodic lines. This song gives way to a harmonic stability and a fragmentation of rapid images irremediably absorbed by the encounter.
Here it is the intermediary that matters, the in-between, the distortion, the gap, the "semantic displacement" between one and the other.
Assonance IV is divided into four sections, characterized by a long upbeat, a period of density and a brief elimination in the first two, and by an essay into the static, a quest for balance, the memory of vestige of movement for the last two. Austerity and sobriety are allied in the composition. Sharp and low sounds alternate, stemming from instrumental gestures that seem visible to the listener. There is also a kind of limpid, aerial suspension interrupted only by the lightning accelerations of the two instruments. On another level, the living sound seems to deteriorate, fossilise, caught in a kind of echo which appears to rise as a trace of life.