Commande de Radio France avec le soutien du fonds Diaphonique.
London Sonfonietta (cond. Christian Karlsen)
Partition publiée chez Éditions Musicales Artchipel: https://www.artchipel.net/produit/recycle-materiel/

Titre aux significations croisées, [Re]cycle fait d’abord référence à la notion de cycle inhérente aux phénomènes d’évolution des êtres vivants, à ce qu’ils engendrent et fabriquent. Qu’il s’agisse des cycles biologiques des organismes vivants, ou bien encore du cycle de vie d’un produit, tout passe par une série d’étapes définissant la conception (naissance, production, fabrication), le développement (croissance, maturité) et l’achèvement (déclin, mort).
Le préfixe [Re] transpose la symbolique du cercle et du cycle vers celle de la spirale, représentation qui m’a accompagné tout au long de la composition de cette pièce. A la fois caractéristique du mouvement de la création qui se renouvelle sans cesse et de la permanence de l’être et des choses, la spirale en tant que symbole du mouvement et de l’évolution est omniprésente dans les structures de l’univers, de l’infiniment petit à l’infiniment grand. En ce sens, elle est sans doute le meilleur symbole de la vie, et de son corollaire, le temps.
Dans sa construction globale, [Re]cycle s’inspire de ces processus cycliques sans chercher à les systématiser. Les jeux de correspondances entre certains moments de la pièce créent une cohérence à l’échelle globale tout en proposant de nouvelles perceptions qui se distinguent par une recontextualisation des matériaux musicaux et l’épaisseur du temps écoulé.
[Re]cycle a aussi été l’occasion de porter un regard introspectif sur mes réalisations musicales antérieures et sur ma démarche de composition tout en gardant à l’esprit que dans la nature « Rien ne perd, rien ne se crée, tout se transforme » (Antoine Lavoisier), et qu’ « Inventer, c’est se ressouvenir » (Gérard de Nerval).

[Re]cycle

David Hudry - Durchgang
Available on Spotify: open.spotify.com/album/6JZFkNInQR…qqQq6zVK5PgD8fQQ
Cd available online: www.col-legno.com/en/shop/40418-da…-hudry-durchgang

Score published at Éditions Musicales Artchipel: https://www.artchipel.net/produit/introduction-a-idavollr/

Iðavöllr refers to a place in the first poem of the Poetic Edda, a collection of poems in Old
Norse which is the most important source of knowledge about Norse mythology. According to Norse mythology, Odin moved to Iðavöllr center of the city of Ásgarðr. He built his palace - the Valhalla - where he reigned supreme, and his temple - Gladsheim - composed of twelve seats and a throne. Odin appointed twelve Æsir who would govern together with him. The latters created forges, struck ore and built tools. Iðavöllr is the place where hammers and anvils’ forges resound, where fights break out between the gods and the giants, where everyone prepares for doomsday, the prophetic end of world: Ragnarök.
This piece consists of a series of five scenes that evoke either a place or a specific time of Norse mythology.

I.  Niflheim is the realm of darkness and mist, an icy world containing nine frozen rivers. Later it becomes the home of goddess Hel, daughter of Loki.

II.  Muspelheim is the world of fire, the kingdom of the giant Surt, which directs Muspell son to conquer the kingdom of Æsir gods. Niflheim and Muspellheim are the two original places of the universe. The meeting of cold Niflheim and heat Muspellheim above Ginnungagap is the origin of the appearance of the giant Ymir - father of all ice giants - and the birth of the world.

III.  Ginnungagap is the name given to the vast gulf between the worlds of Niflheim and Muspellheim.

IV.  Ragnarök is a prophetic end of the world with a series of events including three sunless winters followed by a great battle on the plain of Vigrid. The majority of deities, giants and almost all men shall die. A series of natural disasters will precede the world being submerged by the waves and destroyed by fire.

V.  Gimlé is a place protected against fire where the good and virtuous men live after Ragnarök.
The piece was commissioned by Radio France and played by the Radio France Philharmonic Orchestra (cond. Pascal Rophé)

01 - Introduction à Iðavöllr - Niflheim

04 - Introduction à Iðavöllr - Ragnarök

05 - Introduction à Iðavöllr - Gimlé

David Hudry - Durchgang
Cd available online: https://www.col-legno.com/en/shop/40418-david-hudry-durchgang
Spotify: https://open.spotify.com/album/6JZFkNInQR6481mP0Jf7OL?si=u6-jBVr6T_ChPIjdR1pdIQ
Score published by Éditions Musicales Artchipel: https://www.artchipel.net/produit/the-forgotten-city/

Buffalo, New York: once a major industrial centre of the United States, today largely abandoned, a phantom city, casualty of industrial desertion, whose development and decline recall those of a multitude of other cities in the USA and around the world. The title of this piece refers to the fading from memory and the abandonment that characterise the history of this city and of all cities that, like Buffalo, have ceased to live and to function, following the progressive shutting down of their industrial activity, and the exodus of their population. This rubble, this wreckage, witnesses to the decline of an industrial era that had been flourishing up until then, still carry the traces of the energy that brought them to life.
During my stays in the city of Buffalo, I was able to witness the striking spectacle of these abandoned factories and habitations. These industrial zones provoked such fascination in me that I started to take a closer look at the question of cities and abandoned industrial arias. The more I was drawn into these immense deserted spaces, the more it became necessary to express these images in sounds.

The Forgotten City

Impromptu pour un monodrame - for bassoon and electronics (2007)
Interpreter: Lionel Bord, bassoon
Electronics : David Hudry & Emmanuel Jourdan

Impromptu: a piece with liberal character and improvisation, generally written for only one instrument
Monodrame: a drama which characters are introduced from only one point of view

Impromptu pour un monodrame expresses the idea of a bassoon perceived through a multiplicity of musical characters, each one marked by specific vocal colours and writing styles. Noticing the vocality constantly presents in the sound of the bassoon, I used formant filters, in the electronics, to accentuate and reproduce characteristics of the human voice, resulting in 5 "virtual" bassoons. The counterpoint between the real bassoon and the virtual bassoons, diffused through vocal filterings, strengthens and adds dimension to the concept of the musical characters in this drama within a rather free form. The piece consist of an introduction followed by three sections. Each section represents a confrontational situation between musical characters in new polyphonic relations.

Impromptu pour un monodrame (introduction)

For mixed ensemble consisting of baroque and modern instruments
Dedication : to Ensemble Recherche & Freiburger Barockorchester

About the work 
Störungen translates from German as the idea of trouble and dysfunctionality.
In this work, there exist a kind of tension generated from the divided instrumental groupings. There are 2 instrumental groups each with a different set of tuning:
-	A group of 2 instruments tuned to 415Hz
-	A group of 6 instruments tuned to 440Hz
The latter group of modern instruments constantly interferes with the 2 baroque instruments. Also, inherent in the timbre and tuning itself is a dysfunctional juxtaposition of 2 worlds and epochs. The dramaturgy of this work is based on 2 contrasting musical characters that evolve progressively from a confrontation of schizophrenic materials towards an attempt at a fusion and coming together of the musical ideas.
Störungen contains multiple divergences, aborted attempts at musical dialogue and fleeting sense of fusion.


Störungen (sample 1)

For viola solo
Dedication : to Christophe Desjardins

Verwandlung I occured by meeting Christophe Desjardins to whom I gave a fragment of my string quartet named Verwandlungen. I wanted to give him some sections of the alto part that articulate the main form of the quartet. After an amazing working session with him, I proposed to write a viola solo piece for him.
 Verwandlung is the translation of the idea of transformation, metamorphosis. The piece is organized as a composite form where the sections are like different « moments ». The subtitle « Mit ganzem gehör nimmt der Mensch das Offene wahr » refers to the obsessional idea from Rainer Maria Rilke of the Open that we can find in Duineser Elegien and Sonette an Orpheus. Literally translated, this idea means “with all his hearing, the human being can sense the Open”. The use of « wahrnehmen » implies a level of perception both on the intellectual and sensitive level. Verwandlung is like a wandering, a king of initiatory path made of developments, breaks, all originally from a unique and obsessional musical idea. Trough this path, the hearer is led up to follow the interpreter in a experience on circular time and memory.


Verwandlung I (sample 1)

Verwandlung II, for violoncello and live electronics 
Interpreter & dedication : Séverine Ballon

Verwandlung II,belongs to the cycle called « Les métamorphoses ». I begun the cycle in 2004 and it includes Verwandlungen (2007) for string quartet and Verwandlung I (2006) for viola.

The term Verwandlung comes from the idea of transformation and metamorphosis. In Verwandlung II, a poet, with an idealistic soul, is confronted with a woman’s eccentricities. The musical situations are the consequence of and specific to these psychological exchanges. By dint of confrontations and impossible dialogues, the woman reveals little by little her real inside meanwhile the poet descend into an inescapable depth of solitude. 
This work shows a solo-istic violoncello in dialogue with itself, a confrontation between a real cello on the stage and his virtual shadow in the loudspeakers. The instruments (both real and virtual) are concurrently the narrator, the characters and their psychological manifestations.


Verwandlung II (sample 1)

Verwandlung II, for violoncello and live electronics 
Interpreter & dedication : Séverine Ballon

Verwandlung II,belongs to the cycle called « Les métamorphoses ». I begun the cycle in 2004 and it includes Verwandlungen (2007) for string quartet and Verwandlung I (2006) for viola.

The term Verwandlung comes from the idea of transformation and metamorphosis. In Verwandlung II, a poet, with an idealistic soul, is confronted with a woman’s eccentricities. The musical situations are the consequence of and specific to these psychological exchanges. By dint of confrontations and impossible dialogues, the woman reveals little by little her real inside meanwhile the poet descend into an inescapable depth of solitude. 
This work shows a solo-istic violoncello in dialogue with itself, a confrontation between a real cello on the stage and his virtual shadow in the loudspeakers. The instruments (both real and virtual) are concurrently the narrator, the characters and their psychological manifestations.

Verwandlung II (sample 2)

03 - Introduction à Iðavöllr - Ginnungagap

Partition disponible aux Editions Henri Lemoine / Jobert : https://www.henry-lemoine.com/fr/partitions-pour-ensemble/13984-intersections.html

Dédicace : aux musiciens de l’ensemble Multilatérale.

Le titre de la pièce évoque une musique au croisement de plusieurs influences, qui cultive l’hétérogénéité des matériaux en tentant de les intégrer au sein d’une forme cohérente. L’influence indienne transparait à travers les évocations de formules rythmiques de Tala de l’Inde du nord qui, recomposées librement, donnent une énergie particulière à la musique. Cette exploration rythmique nouvelle dans mon travail se double d’une volonté de focaliser l’écoute sur quelques hauteurs qui reviennent tout au long de la pièce. A la fluidité énergique de ce matériau s’opposent des sections plus apaisées où se déploient des harmonies riches et amples à partir d’une note fondamentale. Les blocs d’accords plus dissonants créent une tension qui répond à la limpidité et à la résonance naturelle de l’octave.
Cette pièce renvoie à une expérience personnelle que je vis depuis maintenant quatre ans lorsque je me rends à Singapour. Dans cette ville-état asiatique où tout converge vers l’occident, où la tradition séculaire se réfugie dans les musées et se mêle à la modernité outrancière, je fais quotidiennement l’expérience du croisement. Mes nombreuses errances dans les rues animées de China Town, de Little India ou de Tiong Bahru m’ont permis d’intérioriser toutes ces énergies humaines, ce foisonnement permanent de bruits et autres sons de la vie urbaine, cette profusion de cultures et de langues. A Singapour, je me situe aux intersections de toutes ces perceptions…

Intersections

Intersections - new version !!!

02 - Introduction à Iðavöllr - Muspellheim

David Hudry - Durchgang
Available on Spotify: open.spotify.com/album/6JZFkNInQR…qqQq6zVK5PgD8fQQ
Cd available online: www.col-legno.com/en/shop/40418-da…-hudry-durchgang

Score published at Éditions Musicales Artchipel: www.artchipel.net/produit/the-forgotten-city-po/

Buffalo, New York: once a major industrial centre of the United States, today largely abandoned, a phantom city, casualty of industrial desertion, whose development and decline recall those of a multitude of other cities in the USA and around the world. The title of this piece refers to the fading from memory and the abandonment that characterise the history of this city and of all cities that, like Buffalo, have ceased to live and to function, following the progressive shutting down of their industrial activity, and the exodus of their population. This rubble, this wreckage, witnesses to the decline of an industrial era that had been flourishing up until then, still carry the traces of the energy that brought them to life.
During my stays in the city of Buffalo, I was able to witness the striking spectacle of these abandoned factories and habitations. These industrial zones provoked such fascination in me that I started to take a closer look at the question of cities and abandoned industrial arias. The more I was drawn into these immense deserted spaces, the more it became necessary to express these images in sounds.

Hudry - The Forgotten City - extrait-solo trompette & final

Enregistrement réalisé par la RTS le 16 mars 2018 - Festival Archipel Genève - Ingénieur du son : Jan Nehring

Pièce pour ensemble de 18 instruments, live electronic et sons concrets d'usines

Machina Humana plonge l’auditeur dans un environnement sonore inouï où les sons concrets industriels sont confrontés à la pulsation et à la vitalité des gestes instrumentaux du Lemanic Modern Ensemble.
Influencée par le groove du funk, le jazz fusion, les techniques du sampling issues de la musique concrète et des musiques dites actuelles, Machina Humana met en valeur l’industrie du décolletage de la vallée de l’Arve en lui donnant une dimension artistique.

Machina Humana - RTS - Mes130

Lemanic Modern Ensemble, direction William Blank
Réalisation informatique : Sébastien Naves

Pièce pour ensemble de 18 instruments, sons concrets d'usines et électronique

Machina Humana plonge l’auditeur dans un environnement sonore inouï où les sons concrets industriels sont confrontés à la pulsation et à la vitalité des gestes instrumentaux du Lemanic Modern Ensemble.
Influencée par le groove du funk, le jazz fusion, les techniques du sampling issues de la musique concrète et des musiques dites actuelles, Machina Humana met en valeur l’industrie du décolletage de la vallée de l’Arve en lui donnant une dimension artistique.
Website: davidhudry.com/

Machina Humana - Séquence Industrielle - mes642

Durchgang

The Forgotten City - Mes214

The Forgotten City - Mes402

Note de programme

Pièce dédiée aux musiciens de l’ensemble Recherche.

Le titre de la pièce [Im]pulses combine 2 idées : impulsion / pulsation
- l’impulsion en tant qu’action d’une force sur un corps immobile qui provoque sa mise
en mouvement,
- et la pulsation qui nait des élans crées par les impulsions.
Le monde qui nous entoure est régi par les pulsations, celles qui nous animent en tant qu’individu (pulsation cardiaque), celles qui caractérisent les différentes activités humaines (notre “rythme de vie”) au quotidien, celles qui scandent le temps musical. La pulsation est aussi dans l’univers avec le phénomène de la formation des étoiles. Lorsqu’elles ont consommé tout leur hydrogène, les étoiles s’effondrent sur elles-mêmes (explosion) et donnent naissance à un objet astronomique produisant un signal périodique appelé pulsar. Dans cette pièce, j’ai voulu explorer le phénomène impulsion / pulsation en m’inspirant de toutes ces idées-là. Tout d’abord, il y a la matière inerte que l’on peut assimiler au “temps lisse” dont parlait P. Boulez, elle ne contient pas de pulsation perceptible. De cette matière émergent progressivement des figures, des gestes musicaux qui définissent une pulsation, d’abord insaisissable, irrégulière. Puis, celle-ci se clarifie peu à peu jusqu’à devenir le support d’une mécanique rythmique qui construit et articule les gestes musicaux propres à chaque instrument. La pulsation, déclenchée par des impulsions, définit un mouvement, une énergie qui se déploie dans le temps et dans l’espace, et qui meurt avant de donner naissance à un nouveau processus. Ce déroulement est celui du cycle de la vie sur la terre et des mouvements de l’univers.

[Im]pulses

David Hudry's music draws its inspiration from the graphic arts, particularly in the works and reflections of painters such as P. Klee and W. Kandinsky, M. H. Vieira da Silva and Zao Wou-Ki.
If these influences are deeply rooted in him, his music is now going to an original path through the themes of the industrial world and abandoned places. This new source of visual and sonic inspiration gives to his music a new breath in which the pulsation, the rhythm and the timbre play an essential role. He draws all the material that gives vitality and a singular energy to his music from images of abandoned factories or uninhabited places, and from the industrial sounds of factories still active.
Website: http://davidhudry.com/

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