Sonate pour deux clarinettes, dedicated to Alain Billard, is the second part of a triptych that begins with a piece for solo clarinet, Sonatimage, and ends with a Concerto for two clarinets and two orchestras.
With its two instruments, the sonata reflects an expression of delirium already present in Sonatimage, a delirium that permeates the material as much as its multiple distributions between the two soloists.
Why use the term sonata? Far from any immediate formal reference, the binary of sonata form does not act here, as in the classical era, in a juxtaposed narrative (even if superimposed in the developments) but a simultaneous one. In this sense, this form catalyzes the profusion of delirium from a reduced thematic figure that engenders the entire musical discourse.