Chant de l’aube, l’obscurité, for clarinet, viola and piano, was composed in 2012. Its title evokes two contrasting states — dawn and obscurity — which shape the work’s two-movement form. A fluid and aerial Allegro prelude, associated with light and dawn, is followed by a slower, darker and more expressive Élégie.

Oriental and Hispanic influences can be heard throughout the work, particularly in the second movement. As the tempo changes and gradually accelerates, the viola adopts a quasi-flamenco character, notably through pizzicato writing, while the clarinet unfolds a free, declamatory and improvisatory melodic line. The contrast between the two movements is therefore articulated not only through tempo and atmosphere, but through changing instrumental colour and gesture.