HUGUES DUFOURT : La Maison du Sourd - Lucifer d'après pollock

Editorial Reviews
Album Description

Hugues Dufourt

La Maison du Sourd - Lucifer d'après Pollock (Lucifer according to Pollock)

Pierre-Yves Artaud, flûte
Emilio Pomárico, direction
Orchestre Philharmonique de Radio France

Type-setter and French philosopher born in Lyon on September 28, 1943, Hugues Dufourt studies the piano in Geneva at Louis Hiltbrand then the composition with Jacques Guyonnet, with whom it collaborates in the Studio of Contemporary Music of Geneva (SMC), and which creates its first works: Breaking , Walled della Città di Dite , Down to has sunless sea , Dusk light... Agrégé of philosophy in 1967, Hugues Dufourt was, in Lyon, the pupil of François Dagognet and Gilles Deleuze. It takes part in Paris with the seminars of George Canguilhem and Suzanne Bachelard. It takes share with the concerts of the Musique group of Time in Lyon, and becomes, in 1968, person in charge for the musical programming to the Theatre of the City with Villeurbanne, under the direction of Roger Planchon, while teaching philosophy at the University of Lyon II (1968-1971), then at the University Jean-Mill -- Lyon III (1971-1979), in the capacity as assistant, then lecturer. It takes part in the activities of the Route (1975-1981), and melts in 1977 the Collective of Instrumental Research and Sound Synthesis (Criss), with Alain Bancquart and Tristan Murail. In 1977, Erewhon is created by the Percussions of Strasbourg, under the direction of Giuseppe Sinopoli, is followed, in 1979, in Ircam, of Saturn , for 24 instrumentalists, under the direction of Peter Eötvös. In 1985, creation, by the Orchestra of Paris, To emerge causes a certain scandal. Pierre Boulez directs in 1986, in Scala of Milan, the Hour of the traces . Homage to Charles Nègre accompanies, the same year, the film Quai Bourbon of Luc Riolon, on a choreography and in a setting in scene of Daniel Larrieu.

Responsible for research (1973-1985), then directing of research at CNRS (since 1985), Hugues Dufourt creates in 1982 the Documentation and Information center/Musical Recherche (Cid-rm), which it directs until 1995. He chairs the Unit Forum (1985-1989), and melts the Seminar of social history of the music (1984) and the doctoral formation "Music and Musicology of the XXe century", at the School of the High Studies in Social Sciences, with the assistance of the Higher Teacher training school, CNRS and Ircam (1989). Christian Bourgois publishes in 1991 Music, capacity, writing . Maze , opera in three parts, on a booklet of Myriam Tanant, is created in 1995 with the Opera of Lyon, in a setting in scene of Jean-Paul Fall. The cycle of the Winters succeeds the House of the Deaf person , for flute and orchestra, according to Goya, created in Venice in October 1999, and Lucifer according to Pollock , for orchestra, created in Paris in February 2001.

Prize winner of the Koussevitski Price, of the Great Price of the Academy Charles Cros, the Price of the Type-setters of the SACEM, Hugues Dufourt is the author of significant articles: "the flood: philosophy of the modern music ", "Music, mathesis and crises, of Antiquity at the traditional age", "Music and principles of the modern thought: spaces theoretical plastic and with sound space ", "paradigmatic functions of the music at Leibniz", "music on computer: a semantics without subject?", "principles of the music".



HUGUES DUFOURT : La Maison du Sourd - Lucifer d'après pollock, Music, Hugues Dufourt
HUGUES DUFOURT : La Maison du Sourd - Lucifer d'après pollock
Average customer rating: 5 out of 5 stars
  • not the past Dufourt you may know
 HUGUES DUFOURT : La Maison du Sourd - Lucifer d'après pollock

Manufacturer: Accord
ProductGroup: Music
Binding: Audio CD

ClassicalClassical | Indie Music | Stores | Music
GeneralGeneral | Classical | Styles | Music
ASIN: B0007UXJ1A
Release Date: 2004-02-17

Album Description

Hugues Dufourt

La Maison du Sourd - Lucifer d'après Pollock (Lucifer according to Pollock)

Pierre-Yves Artaud, flûte
Emilio Pomárico, direction
Orchestre Philharmonique de Radio France

Type-setter and French philosopher born in Lyon on September 28, 1943, Hugues Dufourt studies the piano in Geneva at Louis Hiltbrand then the composition with Jacques Guyonnet, with whom it collaborates in the Studio of Contemporary Music of Geneva (SMC), and which creates its first works: Breaking , Walled della Città di Dite , Down to has sunless sea , Dusk light... Agrégé of philosophy in 1967, Hugues Dufourt was, in Lyon, the pupil of François Dagognet and Gilles Deleuze. It takes part in Paris with the seminars of George Canguilhem and Suzanne Bachelard. It takes share with the concerts of the Musique group of Time in Lyon, and becomes, in 1968, person in charge for the musical programming to the Theatre of the City with Villeurbanne, under the direction of Roger Planchon, while teaching philosophy at the University of Lyon II (1968-1971), then at the University Jean-Mill -- Lyon III (1971-1979), in the capacity as assistant, then lecturer. It takes part in the activities of the Route (1975-1981), and melts in 1977 the Collective of Instrumental Research and Sound Synthesis (Criss), with Alain Bancquart and Tristan Murail. In 1977, Erewhon is created by the Percussions of Strasbourg, under the direction of Giuseppe Sinopoli, is followed, in 1979, in Ircam, of Saturn , for 24 instrumentalists, under the direction of Peter Eötvös. In 1985, creation, by the Orchestra of Paris, To emerge causes a certain scandal. Pierre Boulez directs in 1986, in Scala of Milan, the Hour of the traces . Homage to Charles Nègre accompanies, the same year, the film Quai Bourbon of Luc Riolon, on a choreography and in a setting in scene of Daniel Larrieu.

Responsible for research (1973-1985), then directing of research at CNRS (since 1985), Hugues Dufourt creates in 1982 the Documentation and Information center/Musical Recherche (Cid-rm), which it directs until 1995. He chairs the Unit Forum (1985-1989), and melts the Seminar of social history of the music (1984) and the doctoral formation "Music and Musicology of the XXe century", at the School of the High Studies in Social Sciences, with the assistance of the Higher Teacher training school, CNRS and Ircam (1989). Christian Bourgois publishes in 1991 Music, capacity, writing . Maze , opera in three parts, on a booklet of Myriam Tanant, is created in 1995 with the Opera of Lyon, in a setting in scene of Jean-Paul Fall. The cycle of the Winters succeeds the House of the Deaf person , for flute and orchestra, according to Goya, created in Venice in October 1999, and Lucifer according to Pollock , for orchestra, created in Paris in February 2001.

Prize winner of the Koussevitski Price, of the Great Price of the Academy Charles Cros, the Price of the Type-setters of the SACEM, Hugues Dufourt is the author of significant articles: "the flood: philosophy of the modern music ", "Music, mathesis and crises, of Antiquity at the traditional age", "Music and principles of the modern thought: spaces theoretical plastic and with sound space ", "paradigmatic functions of the music at Leibniz", "music on computer: a semantics without subject?", "principles of the music".

Customer Reviews:

5 out of 5 stars not the past Dufourt you may know.......2005-07-20

The realms of the French avant-garde in serious music has seen its cadre always at work painstakingly at single agendas, single works honed prepared, in gestation periods for years. Dufourt is perhaps the most extreme creator here within this context.For his seminalworks are separated by decades, not from year to year as say this side of the Atlantic favors with its knee=jerk servitude to the market.
You can divide Dufourt's creativity into regions,not so much periods for all his work synergizes together at points and his creative/aesthetic DNA shall we call it is always present, the gestures he prefers how often he utilizes materials as chordal declamations,timbre and the what I call the "struggle" phrase in his music where the music seems to be working, grinding forward as in his powerful "Antiphysis".
The first creative region is marked by his "Brisants" from 1968,and :Dusk Light:(1980) and work with Ensemble L'Itineraire and then the massive percussion ensemble work EREWHON, (No Wheres backwards) where he charted the registral placement of each point each tone iterated. .. .for 7 percussionists with hundreds of instruments. The marvelous "Surgir" (1985)and "Saturne"(1979) for orchestra chart new territory again with a music that structures itself inside outwardly, deeply controlled appraising overtone moments, "spectral" like thinking of where each milisecond of timbre is controlled.He quite literally has resolved the implications Boulez had begun with the timbral complexity within the orchestra(Boulez's 'pli selon pli')(as well as the chamber "Eclat").
I recall hearing live his :Antiphysis: with the Ensemble Intercontemporain with Boulez conducting.There the direct engagement was with the "physical" gesture,rendering nature like a third party,without cause merely representing that "which already is"(Derrida said someplace).This was a miniature flute concerto with an in depth utilization of percussion, Thailanese Gongs, Hanging Chimes, Crotales,again a work with incredible intensity in stridently rendered atonal like chordal declamations,(chords like a signature materials for Dufourt).
Then "Watery Star"(1993)where the eight instruments act as soloists first performed in 1993 at IRCAM was perhaps his last "research-like" piece. Research in terms of the fact that Dufourt considers all his music as explorations, a treatise into the nature state and appraisal of timbre, its shape and necessities, its ways of following itself locally and in history(avant-garde history) and where it can provide insight revelation into what it is itself.Badiou would say Dufourt's music represents the "truth-event" in that it sough the next thread,the next pathway in music. Dufourt, (a trained philosopher) always introduced thinking the philosophic is some way.
However now with the two pieces presented here he has left that, these are two pieces without research,without overdetermined formalizations although each moment is quite deeply incessantly controlled through his own vision of scaling charting each moment each chord in the works,With "LA Maison du Sourd",:House of the Deaf Man:(1996-1999) has a strong narrative against/with Goya who inhabited a house,in the environs of Madrid in 1819 when he was strickened with deafness. In this home he painted black works, impenetrable in content and Dufourt finds a metaphorical meaning here in the use of timbre one-dimensionally,the work begins beautifully with paced chordal pulses, quite soft gentle,like filling time what deafness represented in the passage of now controlled time yet without the symbolic triggers sight gives the human psych. The flute soloist enters about halfway and has nothing to add of content "une jour comme une autre" for its melodic ways except repetitive patternings like works,incessant reiterations around the same tones,filigrees, and etude-like shapes. This could not help but suggest the worse flute repertoire from the French School of 19th Century Flute, the Louis Napoleon Era of mediocrity,where gestures are favored for their predictability and romantic outward stasis, Quite boring. Yet Dufourt has a deeply controlled sense of where the music should go,it never has a freedom as say the gestures in late Feldman,but here with an intense appreciation for timbre in the strings and its mixtures with strings makes the work modern in a backward looking sense.The work, works within Dufourt's oeuvre for its one-dimensional state, one large body of sound,with percussion here in a marginal state,more traditional actually of timbre of density that is slowly attenuated with a soloist. To me the solo part becomes a 'nuisance' after a while like it is stuck in a gear, and cannot escape where it is, the 'stasis' of deafness I guess is such a state, but when used as a metephorical representation in music for orchestra the results are mixed..
The other work "Lucifer d'apres pollock" again dips into the repertoire of philosophy in the "negativity" of Hegel,this time something that makes objects move. I think Dufourt is on shaky ground in here trying to find conceptual equivalents with Pollock's rather spontaneous painterly ways, and improvisatory invention of what was his creativity. Dufourt is too, too controlled a sensibility for the "unfinished" convoluted lifeworld of Pollock. Where they meet perhaps is in Pollock's one time utilzation of primordial iconic imagery,hardboiled images without space,cloistered encumbered with a symbolism of the unknown(after World War 2) things were quite unknown, the state of art as well.I think Pierre Soulange's massive one/two tone paintings are closer to what Dufourt would look like if represented graphically.But here the conceptual is at work not so much what the eye sees, for Dufourt's music to me anyways never suggests a visual narrative,never a suggestion of a place or real space imparted. Here there is more freedom in the use of the orchestra than "LA Maison. . . " without the pivot points of a soloist or another acoustic agenda for mappings of timbral research appraisa;s.Dufourt wanted to see in Pollock the ultime colourist and"energetism". The 'Lucifer parts' here are rendering the whole from the parts the scaling away of full force expressions to the isolated pitch, single tones.And this is something for the listener within pure contemplation. The music remains quite obvious in gesture,but beautiful with long sheaths of timbre,seamless and impenetrable at times. There is a halted simplicity of thought in both works here,perhaps these outwardly self-evident gestures of Dufourt fulfills the remainder of late capitalist expression that he never had quite had the stomach for. Dufourt has quite diatribic essays on the popularizations and moronifications of culture this side of the Altlantic. This seems to be like a time black hole of serious music one where no one escapes.

Music Review:

  1. Ida Haendel, Vol.1
  2. Impromptus/Scherzo/Allegro
  3. Johannes Brahms: Piano Trios 1 & 2
  4. Josep Soler: Nocturnes
  5. Kiss Of Fire
  6. Lev Abeliovich: Piano Sonatas; Fresoes
  7. Liszt: Hungarian Pieces/Two Heroic Marches
  8. Ma Vlast (Live Recording)
  9. Max Reger: Cello Sonatas 2 & 3
  10. Milonga Tangueada

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