Time, Structure, Timbre: Jean-Luc Hervé, Composer
Музыка
*IN FRENCH WITH ENGLISH SUBTITLES*
This discussion between composers Samuel Andreyev and Jean-Luc Hervé was filmed in Strasbourg, France on May 26th, 2023.
Born in 1960, Jean-Luc Hervé studied with Gérard Grisey at the Conservatoire Supérieur de Musique de Paris. He won a first prize in composition. His doctoral thesis in aesthetics and a research project at IRCAM provided an opportunity for theoretical reflection on his work as a composer, and his residency at Kyoto's Villa Kujoyama a decisive turning point in his work. His orchestral piece Ciels was awarded the Goffredo Petrassi Prize in 1997. In 2003, he was invited to take up a residency in Berlin by the DAAD. His two monographic recordings received the Coup de Coeur award from the Académie Charles Cros. In 2004, together with Thierry Blondeau and Oliver Schneller, he founded the Biotop(e) initiative. His works have been performed by ensembles such as Ensemble Intercontemporain, Court-Circuit, Contrechamps, Musik Fabrik, KNM Berlin, Divertimento, Orchestre Philharmonique de Radio-France, Orchestra della Toscana, Berliner Sinfonie-Orchester. Part of his current work consists of concert-installation works conceived for singular sites. He is currently professor of composition at the Conservatoire à rayonnement régional de Boulogne-Billancourt and is published by Suvini-Zerboni Milan.
Né en 1960, Jean-Luc Hervé fait ses études au Conservatoire Supérieur de Musique de Paris avec Gérard Grisey. Il y obtient un premier prix de composition. Sa thèse de doctorat d’esthétique ainsi qu’une recherche menée à l’IRCAM seront l’occasion d’une réflexion théorique sur son travail de compositeur, sa résidence à la Villa Kujoyama de Kyoto un tournant décisif dans son œuvre. Sa pièce pour orchestre Ciels a obtenu le prix Goffredo Petrassi en 1997. En 2003 il est invité en résidence à Berlin par le DAAD. Ses deux disques monographiques ont reçu le coup de cœur de l'académie Charles Cros. Il fonde en 2004 avec Thierry Blondeau et Oliver Schneller l’initiative Biotop(e). Ses œuvres sont jouées par des ensembles tels que l’Ensemble Intercontemporain, Court-Circuit, Contrechamps, Musik Fabrik, KNM Berlin, Divertimento, Orchestre Philharmonique de Radio-France, Orchestra della Toscana, Berliner Sinfonie-Orchester. Une partie de son travail actuel consiste en des œuvres de concert-installation conçues pour des sites singuliers. Il est actuellement professeur de composition au conservatoire à rayonnement régional de Boulogne-Billancourt et est édité aux éditions Suvini-Zerboni Milan.
==
SUPPORT THIS CHANNEL
www.samuelandreyev.com/donate
/ samuelandreyev
PRIVATE LESSONS IN COMPOSITION AND ANALYSIS
Contact me via samuel.andreyev (at) gmail (dot) com
NEW ALBUM OUT NOW
Order a physical copy: www.kairos-music.com/cds/0015...
Listen on Spotify: open.spotify.com/album/42kfms...
Listen on iTunes: / samuel-andreyev-music-...
LINKS
Website: www.samuelandreyev.com
Twitter: / samuelandreyev
THE SAMUEL ANDREYEV PODCAST
On Buzzsprout: www.buzzsprout.com/266909
On Spotify: open.spotify.com/show/0MYQHsG...
On iTunes: podcasts.apple.com/fr/podcast...
Post-production: Arkadiusz Buchala
English subtitles: Simon Flores
Пікірлер: 19
Who would you like to see as a guest on my podcast? Let me know below!
@Raul-vlc-86
8 ай бұрын
I would love to watch a conversation with James Dillon. The cycle Pharmakeia is one of my favorite pieces from recent years (Circe in particular)
@cyberprimate
8 ай бұрын
Manoury
@ericleiter6179
8 ай бұрын
Murail...or, in keeping with your interviews from the Zappa/Beefheart side of things...I'd like an interview with Steve Vai=that has nothing to do with his guitar playing, but his compositions for orchestra and what he learned from Frank
@j.p2481
8 ай бұрын
An active conductor who also composes. Interesting to learn about the balance between the conception of compositions and making them work in different venues on a daily basis. Accomplished conductors have an entirely different perspective of how a composition lives in musicians and audiences alike.
@ericleiter6179
8 ай бұрын
@j.p2481 GREAT IDEA FOR AN EPISODE...PLEASE DO THIS SAMUEL !!!
just wanted to say thank you so much Samuel for translating and putting subtitles. you are a good interviewer in that you actually let the person talk. an enlightening conversation
@samuel_andreyev
9 ай бұрын
Thanks. The subtitles have some mistakes due to incorrect timestamps but I will fix that tomorrow.
@calebcervenjak
9 ай бұрын
@@samuel_andreyev allg they are negligible
To have a musical idea and to build a language around it, rather than being concerned with preconceived notions of harmony or process and adapt the construction to that idea...this is so well put!!! Thank you for sharing this amazing conversation...my most surprising takeaway though...apparently modern French music owes a secret debt to Haydn! As someone once said, we can still learn from him...never predictable and the content creates the form
Invité de classe. J'espère trouver le temps pour regarder l'entretien très bientôt, merci pour votre travail !
Thank you for sharing, very interesting, lovely to hear you speaking fluently french (canadian?).
My take away from this fascinating conversation is that the compositional process depends on the meaningful relationship avenues the composer has with the material. Meaningful relationship leads to meaningful treatment even in a human or instrumental context . A surgical scalpel leads to most interesting processes in the hands of an experienced surgeon. The technique flows out of a meaningful relationship with the material and subsequently the particular context, subtext and pretext. Probably the reason why an old compositional fragment needs new avenues of relationship in order for the process to be completed. Bach had a wide array of ways to relate to a theme or design, which gave rise to unique processes in his fugues. Cultivation of meaningful relationships (e.g expressed as proportions) remains the essence of com-position in any domain.