Biography

Philippe Démier was born in 1960.  He began his writing studies as well as classical guitar (with Alberto Ponce) studies in the conservatory (C.R.R.).  He also learned piano and music history there.  Impassioned by « grand répertoire », he also played  other types of music such as jazz, rock and roll and discovered  extra-European music.

Next he entered the C.N.S.M.D. of Paris where he took various classes including : harmony, counterpoint, fugue, orchestration, analysis and composition where he studied with Marius Constant, Michel Merlet and Claude Ballif.  He won several first prizes.  He also participated in Masters classes of composition with Franco Donatoni, György, Ligeti and Henri Pousseur.

His interest in music by computer generated music guided  him to the I.R.C.A.M. where he participated in a training course in Research and Technologies under Philippe Manoury and Tristan Murail.

Inspired by poets, painters but also by science, his experience was enriched by exchanges with composers such as Bernar Cavanna, Manuel Rosenthal, by concert performers Vladimir Mikulka, Pierre-Yves Artaud as well as various other artists and philosophers including Alain Finkielkraut who encouraged him greatly.

His works, written for different formations of instruments and vocals, cultivate different genres : from chamber music to opera for children.  Several compositions were specially ordered on the occasion of « International Meetings  » (Rencontres Internationales) and played in Paris, Bordeaux, Lyon, Germany or in Spain during various festivals.

His music is characterized by its intimacy.  He is not preoccupied by being affiliated with a specific school, so his style remains independent.  His inspiration comes from various masters such as Debussy, Ives and Ligeti, but also equally from baroque lute players.   If several of his pieces show his interest in improvisation, they are also witness to excellent writing and construction.

His creativity has been a work in progress for over 30 years, punctuated by several very successful collaborations.  Thus, in the year 2004, the Italian painter-sculptor Guido Dettoni della Grazia ordered an electro-acoustic composition for his exhibition -video « Creu de Betlem » presented in Barcelona, Manresa and Lisbon.  The same year, he writes « Chemin de traverse » for piano for the musician Dimintri Saroglou.  The piece is interpreted at the « Vexin festival ».

Among the diverse aspects of his production, we note his interest in voice and text which we find periodically.  We hear different vocal techniques in the cycle Mélodies (1986) or various whispers, poetry and mining, demonstrated in L’Epopée de sable (1995), Le chat (2006) and Passage des Mémoires (2007).

His interest in theater and creating music for theater inspired several works including Peter Pan, an opera for children shown in Paris at the « Salle Gaveau » in 2003.

At the same time, he is also invited to participate in then XXIII « Mosaïques Sonores de San Vitale », an organ festival in Ravenne (Italia) , taking place in Italy for the world-wide creation of his play « Erysichton ».  This is the same play that was chosen in 2005 for the documentary on organ « Le musicien de l’ombre » shown on television by the channel ARTE.

He also participates in the Parisien festival « Envolées Musicales » for which he composes « Sweet silent thought » for guitar and soprano.  A series of  pieces follow with the same festival, allowing the creation of several experimental pieces in participative music performed,   construction of space and his personnal concept of « silent music » which come together in a piece in memory of György Ligeti.

Recently, Philippe Démier, published « Le parcours du compositeur », a work which puts together an ensemble of thoughts on his own production and the mechanisms of his work.

Seen as a reflection of our times, material or space, musical compostion is for me  a series of experiences, a « terra incognita » to discover.  Taking into consideration the resources of instrumental music and recent acquisitions in electronic music ( 2 types of experience which seem to me unavoidable in addressing creation),  I freely place writing in the center of composition , associating « premeditated »  written organization and the immediacy of decisions deemed necessary when composing.

Music requires participation.  It is an experience which one must want to try.  The experience of listening.