This work for two pianos was published in 1989. It is based on a chamber work of the same name for harpsichord and organ, commissioned by Le Festival du Comminges in 1984. The original work was dedicated to Pierre Lacroix (1930-2020), founder of the festival, and premiered by Françoise Petit on harpsichord and François-Henri Houbart on organ (using the historic organ of Saint-Bertrand-de-Comminges Cathedral). The two-piano version transcribes the harpsichord part to Piano I and the organ part to Piano II. Due to this genesis, Piano I predominantly features intricate movements derived from the harpsichord, while Piano II emphasizes weighty chords originating from the organ. By layering these elements in various ways, the work creates a unique soundscape characterized by chiaroscuro, perspective, and a sense of suspension. This fixed assignment of roles is occasionally abruptly broken, with Piano II taking on delicate phrases or Piano I playing bold dissonances reminiscent of Scarlatti's acciaccaturas, thus introducing variety. Viewed within Damase's entire oeuvre, this work is a product of his mature period, transitioning from middle to late stages. While largely constructed from permutations and combinations of established, conventional phrases, this also ensures a consistent and stable, elegant compositional style. It is a work that successfully reconciles conservatism and modernity in a manner accessible to general listeners, and is substantial in both scale and content.

I. Toccata

Allegro moderato (quarter note = approx. 96), 5/4 time. The main key is C minor (no key signature). Approximately 80% of the original musical ideas are retained, but in the two-piano version, the remaining 20% involves alterations, deletions, or reordering of passages. Sixteenth notes intertwine in delicate arabesque-like patterns, framing the long-breathed melodies of half notes and quarter notes, creating a unique sonic effect of diffusion and depth. From the repetition of small undulations, the music swells and intensifies, forming a grand edifice of overwhelming power, before gradually subsiding and converging into a clear C major ending.

II. Passacaille

Andante (quarter note = approx. 60), 3/4 time. The main key is G minor (no key signature). There are no alterations from the original. At the beginning, Piano II presents a theme with a steady gait in single notes, followed by nine variations. Since the theme itself contains chromatic progressions and is atonal, the actively developing variations also create a rather austere impression sonically. There is no stagnation of musical ideas; note values are subdivided towards the middle section, also exhibiting dizzying motion.

III. Final

Allegro vivo (eighth note = 184), 7/8 time, C major. The original is largely retained, but there are minor alterations in the two-piano version. The tempo marking, if converted to quarter notes, is 92, which can be considered a restrained tempo for an Allegro. However, it develops dynamically with exhilarating vitality due to frequent changes in meter, diverse rhythms, and crisp chordal playing. Towards the end, the melody from the Toccata returns triumphantly, achieving a suite-like unity, culminating in a bright grand finale with the C major tonic chord.