Hugues Dufourt. Photo: Astrid Karger.
The work of a composer is to create Time. There is nothing more difficult than creating time, because it isn’t natural for man.
But if you want to compose, you have to reposition yourself each and every day in this dimension of time, reconquer all the conditions of time; this almost amounts to a spiritual exercise and, at the same time, it requires a physical preparation similar to an athlete. Composing music implies a power of projection and a muscular effort, a tension of the whole body taking its roots in the soles of your feet. …
The working day of a musician is a kind of levitation. That’s what you need to aim at: a state of mind where you are sort of detached from matter, when your imagination starts running by itself, when the notes come down to you on their own, without you making an effort. I need absolute silence, utmost concentration and no physical presence at all. …
I have been strongly influenced and shaped by German musical traditions; this is why I decided to reexplore the temporality of the “Lied.” I have chosen the title of Goethe’s most famous ballad, and what does Goethe talk about in “Erlkönig”? He talks about a legend, and in substance, the relationship prehistory had with death. The first minute of this piece is like the very first discussion with a psychoanalyst: there is solemnity, shaking, hope, and shuffling about, because you harp on. … It’s a serious, tragic and legendary affair.
French composer Hugues Dufourt discusses his working methods in this fine video with English subtitles (embedding not allowed; you’ll have to follow the link to watch it) from Papier à Musique. Marilyn Nonken recently recorded Dufourt’s “Erlkönig” for her album Voix Voilées, available here. For only 99 cents, the MP3 is yours to hear and keep.