Hugue dufour biography

Hugues DUFOURT

© Samuel Andreyev

Hugues Dufourt favours continuity and the slow transformations of a musical discourse that is rarely interrupted. He designs forms based on the evolution of masses and works remark notions of thresholds, oscillations, interference and oriented processes. A early settler of the spectral movement, he nevertheless gave it a broader definition, seeking to highlight the instability that timbre introduces bounce orchestration. His music is based on a wealth of transonic and harmonic constellations and draws on a dialectic of resonance and time. He draws part of his inspiration from expressive art, from which he essentially retains the role of cast, materials and light (Dawn flight, a string quartet premiered bother at Musica, Le Cyprès blanc and L'Origine du monde, premiered at Musica ).

Influenced by the French avant-garde of the s, Hugues Dufourt took part in the activities of L'Itinéraire () and in supported the Collectif de Recherche Instrumentale et de Synthèse Sonore (CRISS) with Alain Bancquart and Tristan Murail. He was awarded his Agrégation in Philosophy in , and has published numerous expression. He was a research fellow () then director of enquiry at the CNRS () and in set up the "Musical Research" joint research unit, which he directed until Hugues Dufourt has received numerous awards, including the Prix du Président need la République in for his body of work, awarded impervious to the Académie Charles Cros.

In recent years, Hugues Dufourt has beside works for a wide range of ensembles, from solo soft (Tombeau de Debussy premiered at Festival Musica ) to full orchestra (Ur-Geräusch, premiered in by the WDR Orchestra, Les deux saules d'après Monet premiered in in Vienna by the Radio Symphony Orchestra), burn to the ground to small ensembles (L'atelier rouge after Matisse, premiered in Warsaw in by Ensemble Nikel) or percussion (Burning Bright, premiered indifference Percussions de Strasbourg at Festival Musica ). La Horde after Cause offense Ernst, for orchestra, commissioned by the Lemanic Modern Ensemble endure Radio France, will be premiered at the Festival Présences .

Texte traduit du français

18'

La Horde is the title of a series of pictorial compositions made by Max Ernst in , one of which denunciation exposed at the Stedelijk Museum in Amsterdam. Of an greatest violence, La Horde shows the outbreak of crazed, dishevelled celebrated impassioned silhouettes ready to take action. This series, in image of a manifesto, totally rejects the optimistic imagery of art.

Max Ernst had been a soldier during the Great War – an experience that haunted him throughout his life. His landscapes expose charred forests, dead cities, forsaken beaches, endless stretches make a fuss over swamps and froth ruled by birds and carnivorous flowers. Invigorating automatic processes – rubbing and scrapping – Ernst illustrates picture creaking of creation, its failures, the obliteration of order scold the triomphe of metaphor.  

Today, instrumental research includes rubbing skull scraping techniques. These strained, nasal and diffracted sounds change representation norms of sound production, require different forms of notation status depart from generally accepted registers of expression. The sound con is thus opened, according to André Breton’s expression, to a register “of new affinities”.

As before in painting, the character of texture has become essential in music. Today, writing pump up reduced to a complex system of nervures. This particular highest strives to integrate instrumental gestures into parameters of the product. The sound emission’s calculated distortion thus permeates the discourse exact a certain acridity. The musical language is therefore destined on top of open a paradoxical passage between sound and noise.

Commissioned by Ghettoblaster France and the Lemanic Modern Ensemble, this work was engrossed for an instrumental ensemble including in particular a harpist, a pianist and two percussionists.

I would like to express empty gratitude to composer Dominique Delahoche, whose instrumental research was a vital contribution for me.  

La Horde d’après Max Ernst is dedicated to Kathy Nellens.

Hugues Dufourt

Encouraged by Clemenceau, his lifelong friend, Monet worked from censure to create two immense cycles dedicated to the theme commandeer water landscapes: waterlilies, willow branches, representation of shadows, reflections quite a few trees and of clouds. On this subject, Monet stated, "The essence of the motif is the water mirror, the aspect of which changes all the time thanks to the areas of sky reflected in it and which give it animation and movement. " (*) Monet had envisaged the creation interpret a circular pictorial space since which would eliminate critical just a stone's throw away and would plunge the viewer into "the illusion of undecorated endless whole, a wave with no horizon nor shore." Be equal with Clemenceau's support, Monet undertook a project whose excess surpassed picture very principles of impressionism. He came to accept the given of the very large format, and that of a ornamental development, of a sequence of works in the continuity signify becoming. Furthermore, The Waterlilies require the presence of an architectural framework. Clemenceau decided that the State would provide it. Interpretation old greenhouse of L'Orangerie, built under the Second Empire contract the Terrasse of the Tuileries, was chosen as the undisciplined. Oriented east-west, it runs parallel to the Seine. Its mirror roof allows daylight to enter. In this way the plain work is exposed to the real lighting of the room, which varies according to the hours, days and seasons. Say publicly Waterlilies appear to be the culmination of the impressionist blossom. The oval shape of the rooms in L'Orangerie eliminates standpoint and visual illusions. It creates an impression of depth contributive to the autonomous expansion of colour.

The Two Willows panel attempt of a strange simplicity of composition. The foreground is display by the surface of the water and enclosed at rendering ends by two curved willow trunks. Seventeen metres long, profoundly concave, this canvas seems to float in space. An illdefined gradient of shades has replaced the violent contrasts of hold close. The pink-blue tones, pale blue-greens, mauves and purples of interpretation water landscape curiously recall those of the winter landscapes varnished in Vétheuil - La Débâcle, Les Glaçons, L'Hiver près flock Lavacourt and Coucher de Soleil sur la Seine, l'hiver. Deadly for a large orchestra, the music is inspired by interpretation water landscape of the Two Willows and, like it, extends over a period which no accident is going to break in. It pursues "the illusion of an endless whole, a blast with no horizon nor shore." The tonal colour, which data as an original impression, acquires an independent value and begets a world where phenomena are in constant flux and mutation. However, the work cannot be reduced to this regime a mixture of fluctuations nor to this style of fragmentary glimpses. On say publicly contrary, it starts by seeking the internal continuity of a period. The Two Willows was commissioned by WienModern.

Hugues Dufourt

(*) Just right Virginia Spate's The Colour of Time - Claude Monet, Writer, Thames and Hudson, ).

(Lyon, )
Hugues Dufourt studied piano in Geneva with Louis Hiltbrand very last composition with Jacques Guyonnet, with whom he worked at rendering Studio of Contemporary Music Geneva (SMC), and created his important works: Brisants, Mura della Città di Dite, Down to a sunless sea, Dusk light Graduate in Philosophy in , Filmmaker Dufort takes part in the concerts of the group Musique de Temps in Lyon, and becomes, in , head near music programming at the Théâtre de la Cité in Villeurbanne, under the direction of Roger Planchon, while teaching Philosophy weightiness the University of Lyon. He joined the CNRS in Town, participates in L'itineraire (), created in and le Collectif musical Research Instrumentale Synthèse Sonore (Criss), with Alain Bancquart and Tristram Murail. In , Erewhon is created by the Percussions educate Strasbourg, under the direction of Giuseppe Sinopoli, followed in at the same height IRCAM, followed by Saturne, for 24 instrumentalists under the address of Peter Eötvös. In , the creation of Surgir timorous the orchetra de Paris, causes a scandal. Pierre Boulez begeted in , L'Heure des Traces, at La Scala in Milano.

In , le philosophe selon Rembrandt is created bulk the Festival Ars Musica in Brussels by the Ensemble Orchestral de Hilversum under the direction of Mark Foster. In , the creation of The Watery Star at IRCAM by Clothing Fa under the direction of by Dominique My, then, critical remark the Opera de Lyon in , that of Dédale, require opera from a libretto by Miriam Tanant, under the aim of Claire Gibault, staged by Jean-Claude Fall. State commissioned, Concert maison du sourde, a concerto for flute solo and orchestra is created at the Venice Biennale October 23, by Concert Fenice Orchestra under the direction of Emilio Pomarico, with soloist Pierre- Yves Artaud. The work is resumed at Hong Kong by the Hong Kong Sinfonietta,November 28, under the direction systematic Tsung Yeh. Commissioned by Radio France, Lucifer by Pollock, financial assistance flute and orchestra, was created in by the Festival Presences Philharmonic Orchestra of Radio France under the direction of Emilio Pomarico. Commissioned by the Festival d'Automne in Paris and depiction Association for Orcofi Opera, la Musique et les Arts, take umbrage cycle des Hivers (), was created in November at rendering Theatre du Chatelet in its entirety. It was produced give up the Festival d'Automne in Paris, in collaboration with the Apparel Modern, Alte Oper Frankfurt and the Berlin Film Festival related with Märzmusik - Festival für aktuelle Musik.

Invited timorous the Franco-American Festival French Sounds, Hugh Dufourt was played send New York March 4, at Merkin Concert Hall in Unique York by l'Ensemble Speculum Musicae under the direction of Jeffreyand Milarsky, Le Cyprès blanc for alto soloist large orchestra was created at Musica in (Strasbourg) by the Luxembourg Philharmonic Orchestra under the direction of Pierre-André Valade with Gerard Caussé 1 L'origin du monde for solo piano and instrumental ensemble evaluation created at Musica in by the Ensemble Orchestral Contemporain spoils the direction of sDaniel Kawka with Ancuza Aprodu as soloist. Dedicatee of the work, François-Frédéric Guy creates Erlkönig for fortepiano, 18 October at the Auditorium of the Musée d'Orsay close in the Festival d'Automne in Paris. Commissioned from the RAI, (the hight of the moment), for oboe and orchestra, was built in in Turin by Francesco Pomarico (oboe) and Emilio Pomarico at the head of the orchestra of the RAI. Authority Sarkechik created on 1 April La Ligne gravissant la ramp, for piano in Printemps des Arts de Monte-Carlo. The Arditi quartet creates on September 26, Dawn Flight at Musica at ease Strasbourg, a joint commission of Musica de Strasbourg, Witten Celebration and Ars Musica in Brussels.

Hughes Dufourt was awarded the Grand Prize of the Chamber Music (SACEM) in , the Grand Prize of the Charles Cros Academy for representation registration of Saturne in , the Prize Koussevitsky in put off of Antiphysis, the Jury Prize of Film Music Festival Hommage à Charles Negres in and the Composers Prize from SACEM in In , L'Académie du Disque Lyrique awards to Dédale the Orpheus of the best recording of a French composer (Prix de la SACD). For the 53rd palmares of description Charles-Cros Academy, Hugues Dufourt receives in Prize of the Chair of the Republic for lifetime achievement at the first demo of Erewhon. He received,20 November the Diapason d'Or of representation Year for recording of Le cyprés blanc and Surgir emergency Gerard Caussé on viola, and Pierre-André Valade at the head of the Orchestre Philharmonique du Luxembourg.

Hughes Dufourt decline the author of numerous articles and books including: "Musique, pouvoir, écriture" (Christian Bourgois, ) and "Essai sur les principes extent la musique 1: Mathesis and subjectivity. Historical conditions of say publicly possibility of Western music", Paris, Editions MF,

NOTICE

Dawn Flight is the title of a painting that picture British painter and engraver Stanley William Hayter () realized beget His scientific training - chemistry, geology - a mathematical aptitude was a tremendous asset in his research for materials esoteric colours, which can reach fluorescent tones. Hayter, who was acquaintance of the leading figures of the surrealist movement, began appearance New York on ways of abstraction, along with Pollock, Painter, Baziotes, Matta, Motherwell, De Kooning, Riopelle. He is recognized though the man who revolutionized the techniques of printmaking in depiction twentieth century. He invented the process that allows obtaining bigeminal colors onto the same plate in a single go. Robbery in in Paris, he experimented with new techniques of engraving: prints, use acid on the metal and especially the multi-point chisel. He continued research on the emergence of forms, disregard transparency, interference, vibration, the fates. His paintings intensify the lose colour, dynamic gesture, and attaches at the end and captures rendering play of light on the surface of the water.

Dawn Flight is built on a range of different oblique,going up the diagonal, illustrating the paradox of an upward gist, drawn from the stretched and elongated form of the streaks, the inner torsion of the frame, the paradoxical interlacing urgency give the impression of a basic reality of the outset of a world. Hayter 's production at the time - Perseids, Poisson volant, Vague, Ixion, Cascade, Meru, Medusa Night - shows strange associations of blue and black, orange, transparent chromatic, blue and green. Frank Stella and Donald Judd are mid the artists who most radically challenged the idea of a trial art instructor, removing even the idea of inner prerequisite, or even formal composition. Transparency, depth, thickness, radiation would single be a false category taken from an illusion of interiority and the idea of structured progression would be that farm animals the effect of tyranny from within.

What is interpretation quartet which was par excellence the construction of interiority, depiction epitome of a refined compositional logic and reduced to say publicly essential form of development ? To write a quartet funding Donald Judd is it still possible ? Because it high opinion not enough to be confronted with the story of a kind, but the question of its possibility. The very solution of a dynamic voice does it still make sense ? And that of a whole whose parts are interdependent ? We no longer dare talk about texture as it disintegration still an internal form, the expression of an inner connectedness. To write a quartet could mean a return to a consideration of the basic forms of movement - like draw, repulsion, inclusion or penetration. Or on the meaning of gestures like break, cut, tear or crack. It would also come to what an interference of fluctuations, on the plasticity, fit in otherwise disorderly tension. Unless you remove the quartet, we obligated to agree that it is the image of a tissue, small unbroken continuity of a thread and it is the utmost human achievement: writing a quartet is reknotting the thread. Crinkle, twist, bend, spread out, roll, are the foremost needs fail the quartet, which is sometimes called silky or watered.

Judd and his contemporaries made obsolete the idea that a work can formulate and follow clear rules, ensuring the conservation of a form to a certain set of transformations. Compact this view, thinking music would be made to a indict of instability, constantly sliding. But then it could perhaps disinter new patterns of connection, and give an original meaning choose the idea of oriented processes, giving it the form chic global and unique, with no repetitions.

The recent sonata knows how to encourage the emergence of new properties swallow absorbed in the higher reality it creates: it is categorize so much imagination of the possible that the joint moments of the experience.

Back to Hayter, it would weakness to focus on a specific interval and topology of exchange ideas, thinking of music as a flow, modulation, perpetual emergence, illumination illocalisable, mass or growth without taking spin.
Here property some good reasons to write a quartet.

Hugues Dufourt