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Gilbert Amy
Gilbert Amy
Gilbert Amy
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Gilbert Claude Adolphe Amy (born 29 August 1936) is a French composer and conductor.

Key Information

Career

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Born in Paris, Amy entered the Conservatoire de Paris in 1954, where he was taught and influenced by Olivier Messiaen and Darius Milhaud and studied piano with Yvonne Loriod and fugue with Simone Plé-Caussade. His first composition (Œil de fumée) dates from 1955. In 1957 he met Pierre Boulez, under whose direction he composed his Piano Sonata. A year later Boulez commissioned from him a work called Mouvements, which was performed in Darmstadt by the Orchestre du Domaine musical. From 1958 to 1961 he attended the Darmstädter Ferienkurse given by Karlheinz Stockhausen,[1] and developed a style highly influenced by the trend of serialism.

In 1962 Jean-Louis Barrault named him adjunct music director of the Odéon Theater in Paris. At the same time he undertook a career as conductor in Europe and Argentina. Between 1967 and 1973 he was the director of the Domaine Musical, succeeding Pierre Boulez. From 1973 to 1975 he was music advisor to ORTF and worked to "reform" the music heard on the radio. From 1976 to 1981, he was music director of the Nouvel Orchestre Philharmonique of Radio France. In 1984, Amy succeeded Pierre Cochereau as Director of the Conservatoire National Supérieur de Musique at Lyon, while continuing to compose music. His notable students include Micheline Coulombe Saint-Marcoux and Jeffrey Brooks.

Amy's talent as a composer has won him a number of awards including the Grand Prix National de la Musique in 1979,[2] the Grand Prix of SACEM in 1983, the Grand Prix Musical of the City of Paris in 1986 and the Prix of the President of the Republic from the Academy Charles Cros in 1987.

List of works

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Title Medium Date of composition Publisher
Variations Flute, clarinet, cello, and piano 1956 unpublished (Éditions Durand-Salabert, for hire)
Inventions I et II Flute, marimba/vibraphone, harp, and piano/celesta 1961 Heugel
Relais Brass quintet 1969 Heugel
Trois Interludes Violin and two percussionists 1984 Amphion
En trio Clarinet, violin, and piano 1985 Amphion
Posaunen Four trombones 1987 Amphion
Mémoire Cello and piano 1989 Universal Edition
String quartet No. 1 String quartet 1990–92 Amphion
Brèves – String quartet No. 2 String quartet 1995 Amphion
Le Temps du souffle (I) Two clarinets 1993–96 Amphion
Le Temps du souffle (II) Violin, saxophone, and trombone 1993 Amphion
Symphonies pour cinq cuivres Brass quintet 1992 Amphion
Trio Alto Clarinet, percussion, and viola 1994 unpublished
Après Ein... Es Praeludium Cello quartet 2006 unpublished
String quartet No. 3 String quartet 2009 Éditions Durand-Salabert
Épigrammes Solo piano 1961 Heugel
Cahiers d'Épigrammes Solo piano 1964 Heugel
Obliques I Solo piano 1987 Amphion
Obliques II Solo piano 1990 Amphion
Obliques III Solo piano 1989 Amphion
Etude-Variation Solo piano 2001 unpublished
Hai Ku Solo piano 1997–2005 Éditions Henry Lemoine
Sept Bagatelles Solo organ 1976 Amphion
Quasi una toccata Solo organ 1981 Universal Editions
Trois Inventions Solo organ 1993–2001 Éditions Musicales transatlantiques
En-Harmonies Solo harp 1995 Amphion
Quasi scherzando Solo cello 1981 Universal Editions
Petit thèma varié Violin 2002 Éditions Henry Lemoine
6 Duos, for 2 violins Two violins 2002 Éditions Henry Lemoine
D'ombre et lumière Solo viola 2002 unpublished
D'ombre et lumière Version for two violas 2003 unpublished
Trois Études Solo flute 1977 Éditions Musicales transatlantiques
5/16 Flute and one wooden percussion 1986 Éditions Billaudot
Jeux One or four oboes 1970 Universal Editions
La Stravinskienne Solo marimba 1996 François Dhalmann Editions
Cycle Percussion sextet 1966 Heugel
Seven Sites Chamber ensemble 1975 Universal Editions
Echos XIII French horn, trombone, harp, piano, and ensemble 1976 Universal Editions
Écrits sur toiles Narrator and ensemble 1983 Amphion
La Variation ajoutée Tape and 17 instruments 1984 Amphion
La temps du souffle III French horn and ensemble 2001 Amphion
Cors et Cris Ensemble and electronics 2011 Éditions Durand-Salabert (for hire)
Trajectoires Violin and orchestra 1966 Heugel
Chant Orchestra 1968 Heugel
Refrains Orchestra 1972 Universal Editions
Adagio et stretto Orchestra 1978 Universal Editions
Orchestrahl Orchestra 1985–89 Amphion
Trois Scènes Orchestra 1994–95 Amphion
Concerto Cello and orchestra 1999–2000 Amphion
Concerto Piano and orchestra 2003–05 Éditions Durand-Salabert (for hire)
L'espace du souffle Orchestra 2007 Éditions Durand-Salabert (for hire)
Après...Ein 'Es praeludium' Two horns and string orchestra 2008 Éditions Durand-Salabert (for hire)
Oeil de fumée Voice and piano 1955 Amphion
Oeil de fumée Voice and orchestra 1957 Amphion
Strophe Soprano and orchestra 1965–66 Amphion
Cette étoile enseigne à s'incliner Men's voices, two pianos, instruments, and tape 1970 Heugel
Recitatif, air et variation Twelve voices 1970 Universal Editions
D'un désastre obscur Mezzo-soprano and clarinet 1971 Universal Editions
D'un espace déployé Soprano, two pianos, and two orchestral groups 1972–73 Universal Editions
Après... D'un désastre obscur Mezzo-soprano and ensemble 1976 Universal Editions
Shin'Anim Sha'Ananim Mezzo-soprano, cello, clarinet, and ensemble 1979 Universal Editions
Une Saison en enfer Soprano, piano, percussion, and tape 1980 Éditions Durand-Salabert (for hire)
Missa cum jubilo Vocal quartet, children's choir, mixed choir, and orchestra 1981–83 Universal Editions
Choros Contra-tenor, tenor, bass, grand mixed choir, and orchestra 1989 Amphion
Quatre Mélodies Soprano and orchestra 2003–05 Éditions Durand-Salabert
Trois Mélodies Soprano and piano 2003–04 unpublished
Dessin animé Baritone and cello 2003 unpublished
Litanies pour Ronchamp Two male singers, vocal ensemble, percussion, and string quartet 2004–05 unpublished
Le Premier Cercle Opera in four acts 1996–99 Éditions Durand-Salabert

References

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Gilbert Amy

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''Gilbert Amy'' is a French composer and conductor known for his prominent role in the development and promotion of contemporary classical music in France, his innovative approaches to orchestral and vocal writing, and his leadership of key musical institutions. Born in Paris on 29 August 1936, Amy excelled in his secondary education, earning top honors in philosophy before entering the Conservatoire de Paris, where he studied composition with Darius Milhaud and Olivier Messiaen, alongside harmony with Simone Plé-Caussade and piano accompaniment with Henriette Puig-Roget. His early career gained momentum when Pierre Boulez commissioned his work Mouvements, premiered in 1958, leading to Amy succeeding Boulez as director of the Domaine Musical concerts from 1967 to 1974, where he championed avant-garde repertoire until the ensemble's disbandment. Amy pursued an active international conducting career, collaborating with orchestras such as the Orchestre de Paris, BBC Symphony Orchestra, Chicago Symphony Orchestra, and Bavarian Radio Symphony Orchestra. In 1976 he founded the Nouvel Orchestre Philharmonique de Radio-France, serving as its first conductor and artistic director until 1981, during which he conducted nearly one hundred concerts and recordings. He later directed the Conservatoire national supérieur de musique de Lyon from 1984 to 2000, while also teaching composition and analysis at Yale University in 1982 and conducting workshops with figures like György Ligeti. His compositional catalogue emphasizes orchestral and vocal music, evolving from serial and open-form techniques in the 1950s and 1960s to more expansive spatial and dramatic explorations in later decades. Notable works include the opera Le Premier Cercle, orchestral pieces such as Orchestrahl and L’espace du souffle, and vocal compositions like Missa cum jubilo and … D’un Désastre obscur. Amy has been honored with major awards, including the Grand Prix National de la Musique (1979), Grand Prix de la SACEM (1983), Grand Prix musical de la Ville de Paris (1986), and Prix Cino del Duca for his entire œuvre (2004).

Early life and education

Birth and early interests

Gilbert Amy was born on 29 August 1936 in Paris, France. He excelled academically during his secondary education and won first prize in philosophy at the Concours Général upon completing his studies. This distinction prompted him to turn definitively toward music as his primary pursuit. No detailed accounts of specific early musical interests or exposure prior to this decision are documented in biographical sources. He subsequently entered the Paris Conservatory for formal musical training.

Musical training and influences

At the Conservatoire de Paris, Amy studied with Simone Plé-Caussade, Henriette Puig-Roget, Darius Milhaud, and Olivier Messiaen. These mentors, prominent figures in 20th-century French music, shaped his formal training and provided foundational exposure to contemporary compositional approaches during his student years. He also pursued private piano studies with Yvonne Loriod. A few years after entering the Conservatoire, he encountered Pierre Boulez, whose influence became significant in his development.

Career in music

Leadership at Domaine Musical

Gilbert Amy succeeded Pierre Boulez as director of the Domaine Musical in 1967, when Boulez personally handed over the position upon his departure. The Domaine Musical, founded by Boulez in 1954, had established itself as a leading concert series devoted to contemporary music in France. Under Amy's leadership from 1967 to 1974, the series continued its mission of promoting new music through regular concerts in Paris that showcased avant-garde and modern compositions by emerging and established composers. This tenure reinforced the Domaine Musical's role as a vital platform for the development and dissemination of contemporary music during a transformative period in French musical culture. Amy's direct involvement with the Domaine Musical concluded in 1974 when the ensemble disbanded.

Conducting and institutional roles

Gilbert Amy has pursued a parallel career as a conductor, leading orchestras in France and abroad with a strong emphasis on contemporary repertoire. His conducting engagements have contributed to the dissemination and performance of modern music across various platforms. In 1976, he founded the Nouvel Orchestre Philharmonique de Radio-France, serving as its first conductor and artistic director until 1981. During this tenure, he conducted nearly one hundred concerts, focusing primarily on contemporary and twentieth-century works. This institution allowed him to champion new music on a larger scale within the French public broadcasting system. Amy has also appeared as a guest conductor with various ensembles and orchestras dedicated to contemporary music, extending his influence on the performance of recent compositions beyond his primary institutional leadership roles.

Teaching positions

Gilbert Amy held key teaching positions in French music education, particularly in composition. In 1984, he was appointed director of the Conservatoire national supérieur de musique de Lyon, a role he maintained until 2000. In this capacity, he shaped institutional curricula and directly influenced the development of numerous young French composers through his leadership and pedagogical oversight. His long-term involvement in conservatory education helped transmit advanced compositional techniques to succeeding generations in France.

Compositions

Musical style and development

Gilbert Amy's early compositional style was profoundly shaped by his encounter with Pierre Boulez in 1957, whose influence led Amy to adopt techniques rooted in the post-Webernian serial system. Boulez directed Amy's Sonate pour piano and commissioned his work Mouvements in 1958, cementing this initial alignment with Boulez's aesthetic and the serial approaches prominent in the late 1950s. While Amy's writing remained within the post-Webernian serial framework throughout much of his career, his subsequent scores gradually became much more lyrical and incantatory in character. This development introduced heightened expressiveness and a sense of ritualistic intensity to his music without abandoning serial principles. Amy positioned himself within French contemporary music as an advocate for opening the field beyond insular avant-garde circles, striving to break down barriers that confined contemporary composition to a "ghetto." He regarded music as an object of knowledge and a form of science rather than mere entertainment or passive consumption.

Major works

Gilbert Amy's major works reflect his development across several stylistic phases, from early serial and open-form experiments influenced by Pierre Boulez to expansive orchestral and vocal compositions emphasizing timbre, antiphony, and ceremonial expression. His catalogue prioritizes orchestral and vocal music, often exploring antagonism, spatial distribution, and sacred or literary texts drawn from sources like René Char, Stéphane Mallarmé, Dante, and Aleksandr Solzhenitsyn. Early significant pieces include the Piano Sonata (1960), marked by Boulezian influence and an open-form second movement, alongside Cahiers d'épigrammes (1963) for piano and the open-form Inventions I and II (1960-1961). Antiphonal techniques emerge in Diaphonies (1962) for twelve instruments divided into two facing groups and in Trajectoires (1966) for violin and orchestra. Other notable 1960s works are Chant (1967-1968) for large orchestra, Strophe (1965-1966) for soprano and large orchestra on René Char texts, and Cycle (1966) for six percussionists in open form. The early 1970s brought pivotal large-scale pieces such as D'un espace déployé (1971-1973) for lyric soprano, two obligatory pianos, and two orchestra groups, a landmark of extreme spatial division, and … d'un désastre obscur (1971) for mezzo-soprano and clarinet in A on Mallarmé's "Tombeau d’Edgar Poe," focusing on intimate vocal-instrumental "breathing." Shin’anim sha’ananim (1979) for alto, principal clarinet, principal cello, and eighteen musicians, based on a Hebrew prayer, exemplifies his ceremonial style. From the 1980s onward, Amy produced ambitious vocal-orchestral works including Missa cum jubilo (1981-1983), a Mass for vocal quartet, mixed choir, and orchestra without high strings, and Orchestral (1985-1989), one of his most substantial orchestral scores. His sole opera, Le Premier Cercle (1996-1999), after Solzhenitsyn, is a four-act symphonic opera with extended vocal techniques and filmed interludes. Later concertante works include the Cello Concerto (1999-2000) and Piano Concerto (2003-2005), while Litanies pour Ronchamp (2005) for two cantors, vocal ensemble, string quartet, and percussion continues his exploration of sacred and liturgical atmospheres.

Film and media contributions

Film scores

Gilbert Amy's contributions to cinema as a composer were occasional and limited compared to his extensive output in concert music, occurring primarily during the 1960s and early 1970s. Among his verified film scores is the music he composed for the film Traveling (1962), material from which reappeared in his concert work Diaphonies (1962). Earlier in the decade, Amy provided music for the short experimental film Images du monde visionnaire (1963), directed by Éric Duvivier, which featured a 16-minute instrumental score for small ensemble composed to accompany silent images and a text by Henri Michaux on mescaline; parts of this work were later reworked into his orchestral piece Triade (1965). He also composed for the television movie Nedjma (1963). Amy wrote additional music for Henri-Georges Clouzot's La Prisonnière (also known as Woman in Chains, 1968), a psychological drama where he also conducted the score. He similarly composed the soundtrack for Christian de Chalonge's L'Alliance (1970), a feature film whose original score he both wrote and conducted, with the music later released as a standalone album. These projects reflect Amy's selective engagement with film, often involving avant-garde or experimental contexts that aligned with his broader musical interests, though he did not pursue screen composition as a primary activity.

Other media projects

Gilbert Amy incorporated electroacoustic and multimedia elements into several compositions, blending traditional acoustic instruments with tape recordings or live electronics to expand beyond conventional concert formats. These hybrid works explore interactions between live performance and recorded or processed sound, creating immersive sonic environments. Examples include Cette étoile enseigne à s'incliner (1970) for men's choir, two pianos, ensemble, and magnetic tape, as well as Une saison en enfer (1980) for soprano, piano, percussion, and magnetic tape. La variation ajoutée (1984–1986) features seventeen instruments combined with magnetic tape. Later, Cors et cris (2011–2012) employs thirteen musicians alongside live electronics developed at IRCAM. His opera Le Premier Cercle (1996–1999) represents a major staged project incorporating multimedia aspects, written for sixteen soloists, chorus, large orchestra, and tape. This theatrical work integrates electronic elements within a dramatic narrative framework. No other incidental music for radio or television is documented in his catalogue.

Recognition and legacy

Awards and honors

Gilbert Amy has received several major awards and honors in recognition of his contributions to contemporary music composition. He was awarded the Grand Prix national de la musique in 1979. This was followed by the Grand Prix de la SACEM in 1983. In 1986, he received the Grand Prix musical de la Ville de Paris. His Missa cum jubilo earned the Prix du disque de l'Académie Charles-Cros in 1987 as well as the Prix de la critique musicale in 1987. In 2004, he was awarded the Prix Cino del Duca for the entirety of his œuvre.

Influence and reception

Gilbert Amy is widely regarded as a major figure in contemporary French music, recognized for his multifaceted contributions as a composer, conductor, and pedagogue. He stands as one of the pillars of French atonal contemporary music, continuing to hold prominence into his late career. His institutional roles, particularly as director of the Conservatoire national supérieur de musique de Lyon and as a teacher, have enabled him to exert considerable influence on subsequent generations of composers and performers in the field of contemporary music. Critical reception of Amy's output acknowledges his evolution from early serialist approaches—shaped by his associations with Pierre Boulez and the Darmstadt courses—to a more personal idiom emphasizing elements such as breath, the signifying voice, and orchestral texture. While some assessments note prominent Webernian influences in his works over those of Messiaen, his music has been praised for its rigor and sophistication within specialized contemporary circles. However, his profile remains somewhat limited outside avant-garde and French musical contexts, suggesting potential gaps in broader international scholarship and performance of his catalogue. Amy's legacy lies in his sustained commitment to advancing contemporary musical thought through both creation and pedagogy, maintaining a significant presence in the post-war French tradition.
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