Denis Dufour
Géométrie mystique [2002] 04’28
Texte de Thomas Brando lu par Florence Gonot
Réalisation dans le studio du compositeur
Création à Paris le 8 novembre 2002, salle Les Temps du corps (rue de l’Echiquier 75010), festival Brûlures des langues III, par Jonathan Prager sur acousmonium Motus.

Pour le cycle des Acousmalides, auquel appartient Géométrie mystique, Denis Dufour s'est inspiré de poèmes d’amour issus du recueil La Proie des flammes de Thomas Brando pour en délivrer une re-création musicale, comme l’avait fait deux siècles plus tôt Schubert pour les textes de ses amis… Usant de toutes les libertés du studio électroacoustique, de la puissance et la subtilité de l’outil numérique, il s'est approprié le texte pour en faire infuser la quintessence, par toutes sortes de manipulations et de multiplications, l’occultant par moments au profit d’une pure musicalité, le soulignant à d’autres, l’intégrant à la pâte sonore.

Denis Dufour's Scores published by Maison ONA : https://www.maison-ona.com/catalog-composer-Dufour

Denis Dufour : Géométrie mystique

Denis Dufour
Caravaggio [2000] 10'00
Texte de Thomas Brando lu par Denis Dufour
Dédié à Roberto Paris
Réalisation en septembre 2000 dans le studio du compositeur, à la demande d'Alexandre Yterce.
Création à Paris le 25 novembre 2000, salle Les Temps du corps (rue de l’Echiquier 75010) au festival ‘Brûlures des langues /1’ (Licences) par Jonathan Prager sur acousmonium Motus.
Caravaggio est édité dans la Revue CD Musiques, Arts, Littérature ‘Licences n° 1’.

Pour le cycle des Acousmalides, auquel appartient “Caravaggio”, Denis Dufour s'est inspiré de poèmes d’amour issus du recueil “La Proie des flammes” de Thomas Brando.
Ni illustration, ni adaptation, “Caravaggio” transcende la lettre pour en exprimer l’esprit dans un degré de fusion (passionnelle) véritablement musicale. N’est-ce pas là l’essence même de la poésie ? Ici le balancement du texte et de la musique, le son et le sens finalement, se rejoignent dans un même amour des mots et des hommes. [J. N.]

Denis Dufour's Scores published by Maison ONA : https://www.maison-ona.com/catalog-composer-Dufour

Denis Dufour : Caravaggio

Denis Dufour
Hentai [2011] 10'32
Texte de Thomas Brando lu par Kasumi Handa
Traduction Shoko Takahashi
Remerciements à Fabrice Arduini, Tomonari Higaki, Hamish Hossain et Aki Nakamura.
Création à Fukuoka le 27 septembre 2011, Arena Hall, lors du récital de Tomonari Higaki à la fondation Acros Fukuoka sur un acousmonium à 34 voix de diffusion.

Recent reports confirming that Reactors 1, 2, and 3 of the Fukushima Daiichi nuclear facility completely melted just hours after the devastating earthquake and tsunami hit the area on March 11 have been trumped by even worse news that those same reactors have all likely "melted through" a situation that is the worst possibility in a nuclear accident. And senior political official Ichiro Ozawa suggested that the Fukushima situation could make the entire country of Japan "unlivable".
A nuclear core meltdown involves nuclear fuel exceeding its melting point to the point where it damages the core, leaks out, and threatens to potentially release high levels of radiation into the environment. However, a nuclear melt-through is an even worse scenario, as nuclear fuel literally melts through the bottom of damaged reactor pressure vessels into out containment vessels – and possibly even melts through those outer vessels directly into ground, air, and water.
The report suggesting that melt-throughs have already occurred is the first official recognition of this dire situation. It also confirms early suspicions that such a scenario had been underway all along, as later reports confirmed that the epic disaster at the reactors had produced holes in come of the plant's core containment vessels, and that radioactive water, and possibly even fuel, were leaking into the lower vessels.
IAEA has already stated that the Fukushima disaster is at least as bad as the Chernobyl disaster, but this new information now suggests that it is probably even worse. At this time, it is unknown whether the fuel that has accumulated in the outer containment vessels has seeped outside, where it has the potential to contaminate groundwater supplies and wreak widespread environmental damage. In a former interview, Ichiro Ozawa said that areas around Fukushima were already becoming completely "uninhabitable". He also suggested that as it currently stands, much of the rest of the country, including Tokyo, could suffer the same fate if nothing is done to properly and effectively contain the situation. [Ethan A. Huff, naturalnews.com, June 09, 2011]

Hentai
On entendait le chant des cigales
Des crapauds amoureux rejoignaient bruyamment leurs mares
En lançant des chants stridents.
Puis un grand flash et tout le monde fut projeté contre les murs.
Une lumière aveuglante, blanche, rose pâle puis bleue
En une sauvage désintégration de la matière
Nous fûmes aspirés par le cœur brûlant du réacteur
[Nos mains mêmes étaient devenues invisibles]
Des vagues de dix mètres ne parvinrent pas à contenir cette furie.
Et ce fut le début d'une nuit sans fin.
Toute chose imprégnée d'amour fut transformée en son contraire
La lumière en obscurité et l'obscurité en lumière
Et le silence vitrifia tous les cris
Nous avions froid et chaud en même temps
Enveloppés par l'étreinte tiède du néant.
Alors vint la fascination du fragment
Et du fragment, la dernière des matières premières
Et de la cendre, la poussière
Et même la poussière ne nous fut plus rien.
[Thomas Brando]

変態

蝉の声が聞こえていた
ヒキガエルはパシャンと池に飛び込み
かん高い声を上げながら愛し合っていた
突如大きな光が走り 全てが壁に叩きつけられた
目もくらむ光線は 白く 桃色に そして青く光った
物質が激しく分解され
僕らは原子炉の炉心に吸い込まれた
(僕らの手のひらさえ見えなくなった)
巨大な波も怒りを静める事は出来なかった
こうして終わりのない夜が幕を開けた
愛に満ちたものがその正反対へと変貌した
光は闇へ 闇は光へ
沈黙は あらゆる叫びをガラスに閉じ込めた
生ぬるい無に包まれながら
僕らは寒くもあり 暑くもあった
そして 断片に取り憑かれ
断片は原料となり
灰は塵となり
ついに塵にも満たない無に辿り着いた

Denis Dufour's Scores published by Maison ONA : https://www.maison-ona.com/catalog-composer-Dufour

Denis Dufour : Hentai - 変態

Denis Dufour
Syntagma [2012] 13'00
Hommage à Iannis Xenakis
Réalisation sur ordinateur au studio du compositeur à Paris.
Prises de son : Denis Dufour
Création à Crest le 24 août 2012, Espace Soubeyran, lors du festival international d'art acousmatique Futura, par Éric Broitmann sur le grand acousmonium Motus.

Début 2012, pour marquer les 90 ans de la naissance de Iannis Xenakis,  je proposai à mes étudiants du CRR de Paris et du Pôle supérieur d'enseignement artistique Paris-Boulogne-Billancourt (PSPBB) de participer à une composition collective inspirée, tant pour le détail de l'écriture que pour la structure, des calculs et des procédés mis en œuvre par Xenakis lors de la réalisation de sa fameuse pièce pour violoncelle seul, "Nomos Alpha". C'est à cette occasion que j'esquissai moi-même trois moments de 4'20 chacun qui furent insérés dans cette grande suite de 58 minutes formée de 24 séquences enchaînées sans discontinuer.
Syntagma est la réunion de ces trois parties qui, discrètement, font chacune référence à une œuvre de Xenakis ou à des éléments de son langage : le processus accumulatif de "Bohor" pour la première, les nuages de sons ponctuels et les réseaux de glissandi continus pour la seconde et,  pour la troisième, le fameux final de "Nomos Alpha" où deux gammes en mouvement contraire tendent inexorablement vers le point le plus haut et le plus bas de leur ambitus. [Denis Dufour]

Denis Dufour's Scores published by Maison ONA : https://www.maison-ona.com/catalog-composer-Dufour

Denis Dufour : Syntagma

WIKIPEDIA

Denis Dufour (b. 9 October 1953, Lyons), after studying the classics at the CRR in Lyons and the Paris Conservatoire (particularly with Pierre Schaeffer and Ivo Malec), he is recognized as a composer in the field of instrumental as well as electronic creation for concert[5] with more than a 160 works to his credit.[6] As one of the pioneers of the 'morphological' and expressive approach to sonic writing, his works employ a wide spectrum of parameters in all sonic dimensions.[7] Following Pierre Schaeffer and Pierre Henry, he contributed to the emergence of a genre that decisively connects artists and musicians.[8] The exploration of new structures of sound, the fluidity of a 'Baroque' style of phrasing, the mobility of his figures, and his love of the human voice and of certain dramatic narrative effects have fostered the emergence of a new kind of theatrical sound in his work, over and beyond his strictly musical discourse.[9]
Despite his large compositional output, from the late 1970s, he has been a teacher (at the Paris Boulogne-Billancourt (PSPBB) higher arts education centre,[10] the Regional Conservatories of Paris,[11] Perpignan,[12] Lyons), researcher (including Groupe de Recherches Musicales until 2000),[13] lecturer, and a host for several courses, workshops and masterclasses in France and abroad (particularly in Japan[14] and Italy[15]).
A tireless leader and advocate, with Jonathan Prager, of an approach to interpretation and spatialization on an acousmonium (system of sound spatialization – a loudspeaker orchestra) with sensitivity and accuracy as opposed to the rigidity of pre programmed multiphonics.[16] Founder and initiator of the TM + ensemble, his work Ourlé du lac à la première goutte de pluie (Pli de Perversion 2) performed at the ICMC in 1984 – is the first to use Syter,[17][18] one of the first real-time digital processing devices. Dufour was instrumental in identifying the need for space to check the parametres quickly and accurately. It was this observation that led to the development of the interpolations screen, which can memorise the status of all the system's parametres (a "snapshot", as we would now call it), and enables the user to move very quickly from one configuration to another by jumps or interpolations (gradual evolution).[19][20] He also contributed significantly to the realization of the Acousmographe, a software for graphical representation of sound phenomena, produced by Institut national de l'audiovisuel.
An organizer and artistic director of several events dedicated to contemporary creation (the series Acore in Lyons, Syntax in Perpignan, Musiques à Réaction in Paris, Futura Festival in Drôme), he also founded several structures, collectives and instrumental formations that continue to irrigate the musical life in France and abroad (Motus, Futura, Syntax, TM+, Les Temps modernes…). Through the exchange of experiences between artists of various fixed medium disciplines (musicians, visual artists, photographers...) he welcomed a trans-disciplinary public seen at the Futura Festival[21] in Drôme every summer since 1993. Since the early 2000s (decade), Dufour actively participated in the encouragement and development of acousmatic art in Japan.[22]
Through Motus in 1996, he initiated two of the most important acousmoniums performing regularly in France and in Europe.[23] Several annual interventions, particularly the invitation to the Palais de Tokyo[24] have contributed to the reputation of Motus in the world of contemporary art.
Recognizing the need to broaden the scope of a type of creation made in a studio, fixed on a medium and delivered for listening on loudspeakers, he combined the various genres into what he calls acousmatic art,[25] which offers an open definition (translated into several languages) and which is beyond mere musical terrain. In his hands, acousmatic art came to being a fertile musical genre, which, consciously or not, influenced a number of musicians and artists.[26] Very aware of promoting cross-practice, he is involved in multiple partnerships in the visual arts[27] (Galerie Lydie Rekow at Crest High School Art Perpignan, initial three years residence in the centre of contemporary art at the Domaine de Kerguéhennec, collaboration with visual artist Jaume Xifra[28] and with Richard Serra in Monumenta 2008.[29]
A composer of a variety of instrumental, vocal or acousmatic works[30] he has always been deeply involved in the transgression of genres, plunging his experiences in the field of dance, video, mixed works (combining instrument and fixed audio media), the musical theatre, radio art – Hörspiel, installations and sound environments. A large number of his works use texts for which he collaborated with Michel Vincent, Jean-Christophe Thomas, Dominique Dubreuil, Marc Jaffeux and especially Thomas Brando with whom he has worked very closely on several compositions.

[1] Thompson, Robert S. "Acousmatics and Musique Concrete". SoundScape. Jay Ver Haeghe. Retrieved 22 December 2011. 
[2] Francis, Dhomont. "Acousmatic, what is it?". Cycle of wanderings. empreintes DIGITALes. Retrieved 22 December 2011. 
[3] Karman, Michael E.. "Futura 06 – oui au weekend des 35 heures". Events. asymmetry music magazine. Retrieved 9 February 2012. 
[4] "Prix de la meilleure création contemporaine électroacoustique". SACEM. SACEM. Retrieved 21 December 2011. 
[5] "Presences Electronique". Computer Music Journal. 3 33 (Fall 2009): 5. 26. DOI:10.1162/comj.2009.33.3.5. Retrieved 9 February 2012. 
[6] "Denis Dufour". Composer Biographies. CDMC - Documentation Centre for Contemporary Music. Retrieved 9 February 2012. 
[7] "Denis Dufour Entretien". www.ina.fr. Retrieved 9 February 2012. 
[8] Nordin, I L. "Phase-shifts of ecclesiastics". Reviews. Sonoloco.com. 
[9] Sadie, Stanley. The New Grove Dictionary of Music and Musicians. Grove's Dictionaries of Music Inc.. pp. 665–666. ISBN 1561591742. 
[10] "List of Teachers". Paris Boulogne-Billiancourt (PSPBB) higher arts education centre. Retrieved 9 February 2012. 
[11] "List of Professors". CRR de Paris. Retrieved 9 February 2012. 
[12] "CRR Perpignan". Pedagogy. AECME - Association of Teachers of Composition in Electroacoustic Music. Retrieved 9 February 2012. 
[13] "Denis Dufour". Composer Biographies. CDMC - Documentation Centre for Contemporary Music. Retrieved 9 February 2012. 
[14] Utako, Bosseur Jean-Yves ; Kurihara (2008). Gendai ongaku o yomitoku hachijūhachi no kīwādo : jūnion gihō kara mikusuto sakuhin made.. Tōkyō: Ongakunotomosha. pp. 10. ISBN 978-4-276-13253-5. 
[15] "Reviews". www.creativesourcesrec.com. Retrieved 9 February 2012. 
[16] Fritts, Lawrence (13). "Futura 2000". Computer Music Journal. 2 25 (Summer 2001): 62–63. Retrieved 9 February 2012. 
[17] Teruggi, Daniel (2004). archives grm - le temps du temps reel. France: INA. pp. 25–26. 
[18] "Denis Dufour". Composer Biographies. CDMC - Documentation Centre for Contemporary Music. Retrieved 9 February 2012. 
[19] Teruggi, Daniel (2004). archives grm - le temps du temps reel. France: INA. pp. 25–26. 
[20] "Denis Dufour". Composer Biographies. CDMC - Documentation Centre for Contemporary Music. Retrieved 9 February 2012. 
[21] Karman, Michael E.. "Futura 06 – oui au weekend des 35 heures". Events. asymmetry music magazine. Retrieved 9 February 2012. 
[22] "Digital Music Festival 2003". Computer Music Journal. 2 28 (Summer 2004): 8–11. 21. DOI:10.1162/014892604323112202. Retrieved 9 February 2012. 
[23] Fritts, Lawrence (13). "13 th Colloquium on Musical Informatics". Computer Music Journal. 3 25 (Fall 2001): 80–82. DOI:10.1162/014892601753189556. Retrieved 9 February 2012. 
[24] Lavigne, Christian. "Music and New technologies". Ars Mathematica. Palais de la Decouvert. Retrieved 11 February 2012. 
[25] Dhomont, Francis. "Acousmatic, what is it?". Sleeve Notes for Cycle of Wanderings. www.digital-music-archives.com. Retrieved 9 February 2012. 
[26] Lagasse, Lea. "Upstairs Downstairs". www.lealagasse.net. Retrieved 9 February 2012. 
[27] Barron, Stephan. "Mur". www.dvdremix.org. Retrieved 9 February 2012. 
[28] Xifra, Jaume. "Dufour 1, Dufour 2, Dufour 3". Barcelona, dix portraits singuliers. www.xifra.org. Retrieved 1 April 2012. 
[29] "Motus - Intervention musicale". Monumenta 2008. http://archive.monumenta.com. Retrieved 1 April 2012. 
[30] "Denis Dufour". brahms. www.ircam.fr. Retrieved 9 February 2012.

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