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"Early in 2020, a crazy idea came over me – an old longing, a somewhat hazy obsession, a dream well within my reach, yet never fulfilled: to go on a long beautiful journey. For a long time I'd been contemplating a bridge between two worlds: the music I make, improvisation; that so-called European jazz – and twentieth century classical music. A few great elders and friends had paved the way so, with my cello and a few bows, I set out to cross that bridge. But I immediately stumbled upon a seemingly unclimbable mountain: Penderecki! I considered walking back or sidestepping the obstacle. No way! At home, in hotels, backstage and even on airplanes, I persisted, taking my sweet time and eventually; once I'd reached the top, I spotted in the distance lovely, dark, deep woods: Ligeti. I rushed in headlong, scratching my face and hands on brambles, looking for a safe way. Then I came across a few clearings, sublime, pared down minatures by Hanz Werner Henze. My relentlessness and perfectionism started bearing their fruits: I finally found pleasure which I welcomed as an encouragement.
Back in March, when lockdown first started, time stood still and suddenly I had all the time in the world. Every morning, in the early hours, I'd get going. I decided to start recording. Hindemith and his five-movement sonata thrilled and challenged me. My friend Dominique Pifarely shared with me a profound and organic Litanie. I discovered Honegger's Paduana, an elegantly chiselled yet long-forgotten piece.
When lockdown was finally lifted, and with Berio, « The words were gone ». Today, my stand disappears under the music by fascinating composers that I long to play – music that I know will nurture my own. In the end, it's a whole world I discovered, a new place I love deeply, on the other side of the bridge I'm hopefully nowhere near done crossing." (Vincent Courtois)
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