With Erewhon, Hugues Dufourt (b. Lyon, 1943) embarked upon a potent new form of expression, veering in an untried stylistic and conceptual direction, dramatically changing the treatment of musical parameters – i.e. temporality, space, form, energy and density.Erewhon’s (1972-76) four movements encompass sound-noise concepts and examine acoustic volumes along with their scope for permutation. With a fresh approach to composition that is resolutely avant-garde, the composer besets formalism with jolts and fractures and creates explosive patches of contrast along with areas of intuitive or formal turbulence.Instinctive, genetic or refractory reactions, zones of emergence, resurgence and persistence containing twisted, stretched and compressed outlines and layers produce a conflicting temporality. Dufourt’s craftsmanship combines traditionally Western assets (a player’s routine gestures and traditional playing styles) with a determined drive for musical emancipation.
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