D’om Le Vrai Sens
At least 15, if not 20 years, that I promised at some point in my life to write a clarinet concerto for Kari Kriikku, who premiered the piece.1 And then at some point after I had written my second opera, Adriana Mater, suddenly I realized that in that piece clarinet had grown out from the orchestra and had taken an important position. And so, I thought to myself that this might be the right moment to write that concerto. And I was thinking about it, and thinking about it a lot, and then one day I walked by the Medieval Museum in Paris, and I decided to go to see theses tapestries, which I knew very well, and which I had visited many times when I was preparing my first opera, L’amour de Loin, and focused on all these years, and then suddenly I went to the museum and it was closing earlier than I thought, but the lady knew me and she said “Well, why don’t you go there? You can go there still, you don’t need to pay the entrance fee.”
So, suddenly I was in this room by myself, which was very unusual because they are so famous. And I was walking there, and being happy to find them again, and then suddenly these two things came together.2 And so, again something was clarified in my mind when I was in that room. And then I decided to make the connection, but somewhere — but part of the music was there already.