Sur le męme accord (about a single chord) is - as the subtitle suggests - a nocturne-like work. Although in one mouvement, at its centre are two expressive sections, which alternate with more rapid writing. The soloist plays a concertante role with the orchestra. In both the solo part and the orchestral texture, a six-note chord can be heard throughout the work, either concealed or more overtly, given to soloists drawn from the orchestra. At the start of the work, the solo violin announces these six pitches, first as a monody, then double-stopped, this material is then distributed vertically (played as a chord) by various instrumental groups. Mirror writing and different orchestral colours transform this chord, but it is omnipresent, an obsession. This relatively short work is dedicated to Anne-Sophie Mutter, to whom I was introduced by Paul Sacher about fifteen years ago. Since then, this great artist, who captivates so many composers, has unceasingly added to her repertoire music of our time by commissioning new works in many genres from contemporary composers. - Henry Dutilleux