一整天在聼同一首歌。爲什麽總是最安靜的音樂讓人產生最強烈的熱望。我喜歡 Anouar Brahem 這張照片，以及這一類的照片。好像褪掉了彩色。起初幾乎誤以爲黑白片，可凝視愈久，那一點滴顔料愈豐富，黑愈濃重，白愈分明。

這許多浮想聯翩，也許是，冬天裏的光線和聲響都空洞了，不禁打翻思緒以製造内心的熱鬧。

These pieces emerged from the keys of a piano. Still affected by the powerful emotion of the encounter, and the exhasustion which followed the recording of “Thimar”. I set the oud aside for a few months, something that had never happened to me before. It was as though the music came from there, from the spaces created by that pause. As though it was the very expression of that lack.

…The piano was the main character, the sole protagonist. It was only later on that the oud came in. It joined the piano gradually, discreetly at first, then it assumed its place. It was a long time, on the other hand, before the idea of integrating the accordion came into my head, whereas it seems obvious to me now. It’s like this music’s inner song.

…A tempo passed on to me by the movement of a tree I could see from my window, swaying gently in the breeze.

- Anouar Brahem, Les pas du chat noir

Anouar Brahem: Leila au pays du carrousel (Les pas du chat noir)