Lemoine DUFOURT HUGUES - L'ESPACE AUX OMBRES - ENSEMBLE
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Lemoine DUFOURT HUGUES - L'ESPACE AUX OMBRES - ENSEMBLE
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The Space of Shadows: this title, borrowed from the poet Henri Michaux, describes a slow descent into hell that takes the form of an inexorable narrowing, a progressive confusion of outside and inside. However, I did not intend to create a work of perdition nor to transcribe a kind of hallucination or delirious image. The writing process is one with that of consciousness – it expresses a stance of lucidity even in the exploration of the dark regions of the human condition. No doubt the title and the subject are emblematic of a sensibility of the time. Musical research and creation reflected for nearly half a century an optimism, an ambition to understand and master the universe in its entirety. This momentum did not withstand the vicissitudes of history, and forms of utopian symbolization gave way to the demands of a particularist and subjective spirit. The conflict that opposed modernists and postmodernists can find a positive outcome, leading to a synthesis of styles and giving birth to an original form of art. One of the current problems of musical creation seems to me to be that of reusing tradition. The relationship to roots does not call for a rather vain repetition. On the contrary, it has become necessary to reassess the craft, to pick up the thread of history, without eclecticism or technical obsession. How to reconnect with tradition without engaging in the renovation of traditional forms? Debussy had proposed a solution, removing rhetoric and functional hierarchies to liberate forms, sonorities, and movements alike. Any fragmentation in Debussy – whether applied to melismas, accents or incises, orchestral textures, or the intrinsic sound value of an isolated note – finds its counterpart in the institution of new, unusual but formalized relationships. Following Debussy, the work of formalization shifted. It applied to dimensions of writing previously neglected because they appeared minor and adventitious. Formalization introduces unprecedented articulations and integrates disparate, heterogeneous, and partially incompatible elements. The primary goal of this piece is to differentiate instrumental characters through harmony. The raw material of timbre is thus reworked and transformed into expressive substance. Acoustic values and harmonic functions exchange, invert, pivot. Likewise, polyphonic texture is only a way to introduce into harmony a play of regulated deformations. I have extensively used for this purpose the genetic resources of symmetry, with its axes, rotations, lateral movements, loops. The aim was therefore to reduce the traditionally heterogeneous dimensions of musical writing to species of symmetry. The second aim of this piece is formal. The form results from a process which, since Wagner, consists in maintaining tension by never concluding. The unresolved tension factors blend into one another to constitute a seamless whole. This technique of generalized suspension, of always deferred resolution, applies not only to transitions but to the motifs themselves. Maintained in an inchoate state, the elementary devices present themselves as barely sketched gestures. The dimensions of writing are thus kept in perpetual confrontation, in a kind of initial trembling or primary indecision. The oscillation is primitive and prevents, in principle, dominating the form, completing it. Hugues DufourtRecording: 1 Accord CD, 465 715-2 The Watery Star - An Schwager Kronos - The Space of Shadows Ensemble FA, D. My
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