The saxophonist and Japanese composer Ryo Noda, born in 1948, chose to place his musical career under the sign of the meeting between the West and the East.
How would he have felt some elective affinities between his creation and that of Douanier Rousseau (1844-1910), whose jungle landscapes exhale a dreamlike exoticism?
Inspired by three paintings by the naive master, Yume - The Dream for Saxophone alone lets the listener first succumb to the incantation of The Charmeuse of Snakes (1907): the melody, imitating the flute, full of mysterious sensuality, finds its echo in the surrounding nature, just as the pale glare of the moon is reflected on the surface of the lake.
In La Guerre (1894), calcined trees and scarlet clouds surround the goddess Bellone, whose cavalcade is restored by slap technique and devastation by the Saxophone's portamenti aigres.
Le Rêve (1910) gives us this naked woman in the middle of the jungle, the state of nature before the fall, the incarnation of archaic innocence.