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In his works, he plays deeply with a dimension that results from a discourse of energies, forms and movements of sonic entities: this includes all the parameters, more or less conventional (pitch, timbre, intensity and duration, but also space, speed, spirit, emotional charge and anecdotal aspects) that are worked on specifically for the sake of a sonic writing.

Through his morphologic writing, he has paradoxically made himself the heir of a baroque phrasing where inner movement of figures, fluidity, momentum, suspensions, swinging, oscillations, shifts, use of contrasts, agility, refinement of the discourse and the ornamentations contribute to the creation of a fresh language.

His electroacoustic practice, his role as a synthesiser player in the TM+ electroacoustic instrumental ensemble, his research and identification of perceptive parameters, his experience of emotional and psychological dimensions in sound that have enabled him to link instrumental writing (of which he has had all the traditional training) and a holistic understanding of the sonic universe like in acousmatic art that doesn't reduce itself to the usual parameters of instrumental music.

The clarity of his scores, the depth of the expression, elegant and purposeful lyricism are obtained through the sculpting of sonorities, colours, linking of sounds and sections: most of his works call for a committed performer; in exchange, they enjoy the pleasure of playing, a “comfort”, gestural benchmarks on that he relies on to make every expression one that was awaited: a proof that pleasure, as a dimension, can very well incorporate itself in the invention of a new writing style. | JN (december 1991)

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