Universal Music has just put online a video of the world premiere of Pas de Deux, which took place just a month ago in Liverpool, announcing a CD album of the double concerto for May 2015.
For three minutes we hear several passages of the concert piece composed by James Horner for Mari Hakon Samuelsen:
The video begins with the taiko, which signals the spectacular finale of Pas de Deux. This incredible conclusion can be heard between 0'00 and 0'38 then from 1'57 to 3'12.
Throughout the 30 minutes of Pas de Deux, quiet interludes interspersed between each orchestral climbs, one of them is present between 1'25 and 1'55. Finally, between 0'39 and 1'24 we can enjoy two of these many orchestral outbursts.

This is hard not to think back of Pas de Deux without being caught by intense emotion. This piece condenses colors so dear to the composer that it can instantly be recognized as one of his most personal and touching works.
Next May 2015, after hearing the first three minutes of Pas de Deux only, no doubt you will make the same observation as we did: this music is beautiful. You will then have to let Mari Samuelsen’s sublime violin carry you to live one of the most profound musical experiences of your life. Many laudatory adjectives in our judgment may show a hint of exaggeration. Maybe. Anyway this concert piece cannot leave anyone indifferent and has great chances to move you.

Listening to Pas de Deux reminds us of Testament, Krull, Once Upon A Forest, Star Trek, The Spitfire Grill, House Of Sand And Fog and of course the essential Iris. So this piece is composed of a synthesis of old, recent and new colors. It shows, as if this still be needed, that James Horner’s musical work built over 35 years is stunningly coherent. Pas de Deux transpires James Horner’s music. Its style shines through every measure, every note. Freed from the constraints of image the composer develops at will the colors that are close to his heart, at the same time guaranteeing immediate adherence of music lovers who have followed him with admiration for so many years.

Just like impressionist painting, Pas de Deux refers to the poetics of the moment, a nuanced musical writing, a succession of faded contours where rhythm and melody are flexible and fluid. Every second of Pas de Deux leaves the opportunity to imagine, to have impressions. One has to simply close one’s eyes to see. To see and admire a forest, a beach, meadows of sight, by small touches.

Thus, through this music it will be difficult to convince the followers of a conventional music where the wealth of a composition depends on the development of an idea, a theme or a pattern. Pas de Deux deploys so many and in a way so dazzling that a conventional development structure would have weighed all. Here the music is synonymous of lightness and finesse, ephemeral and eternity. James Horner did not try to convince, he just let his music speak. To our greatest delight that will be also yours in a few months.


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