A transformative element in Helps’ composition is his use of rubato. This rubato does not merely invite the performer to take liberties, it forces the composer to offer himself the same freedom and flexibility. An example in Helps’ œuvre would be his use of ostinati: Helps plays with his own aural memory as well as those of the performer and listener. By infinitesimally varying each repetition of a musical figure, he gives the impression that he is trying to remember something very simple.
The reality he builds from this child-like game is more difficult to grasp; and this sense that his music is in the process of melodically or harmonically evading the listener creates much of its emotional impact. The opening of his 1973 piano work Hommage à Ravel illustrates this fascinating procedure: the completely “square” 4 X 4 bar structure with a rigid rhythm is a model of simplicity. Yet, the act of “following” this phrase make the listener feel intoxicated, blurry, lost. Are we losing our grip?…
