French composer (born 1952)
Philippe Manoury (born 19 June 1952) is a French composer.
Biography
Manoury was born in Tulle and began composition studies at the Ecole Normale de Musique de Paris with Gérard Condé and Max Deutsch. He continued his studies from 1974 to 1978 at the Conservatoire de Paris with Michel Philippot, Ivo Malec, and Claude Ballif.[1] In 1975, he undertook studies in computer assisted composition with Pierre Barbaud [fr], and joined IRCAM as a composer and electronic music researcher in 1980. From 2004 until 2012, Manoury served on the composition faculty at the University of California, San Diego, where he taught composition, electronic music, and analysis in the graduate program. After retiring from teaching at UCSD, he currently lives in Strasbourg, France.
Music
Manoury's work is strongly influenced by Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, and his early work from 1972 to 1976 combines serial punctualism with the densely massed elements characteristic of the music of Stockhausen and Xenakis, and the paintings of Jackson Pollock.[1] Works such as Sound and Fury are of interest because of the use of computer-assisted composition. Sound and Fury also uses a very large orchestra, which is symmetrically disposed, and makes quite extensive use of left-right spatial effects.
Since the 1980s, Manoury has been closely associated with the American computer researcher Miller Puckette, first at IRCAM and subsequently at UCSD. The Sonus ex machina series of works (Jupiter, Pluton, Neptune and La Partition du Ciel et de l'Enfer), which were developed in collaboration with Puckette, are among the first pieces to utilize real-time audio signal processing, and Pluton was the first ever composition using Puckette's groundbreaking software Max.
His Abgrund—pour grand orchestre was commissioned by the Bavarian State Opera together with the Orchestre symphonique de Montréal and premiered by the Bavarian State Orchestra on November 26, 2007. It has been described as "a work that will neither disturb nor annoy [...] a pleasant and perhaps harmless string of dissonant semi-climaxes, little jolts, and resting phases. It has an invigorating effect, is easy to concentrate on . . .".[2] In it "Manoury [...] mercifully knows how to use [the abundance of percussion instruments] in ways far more discriminately than his contemporaries beholden to one bongo-frenzy after another".[2] "Philippe Manoury hit[s] the right mix between shallow and deep, melodic and dissonant, placating and strident, stasis and progress, simplicity and complexity. The steady run-up—stop—tighten—burst—relax scheme may not be novel at all, but it paid dividends [in 'Abgrund']".[2]
