Jacques Drillon

Jacques Drillon was born on June 25th, 1954 in Paris.

It made higher learning of letters and cinema, in Nancy and Metz. It is received arts doctor (linguistic), with the Law formal and its influence on artistic creation and literary , under the direction of Jacques Hennequin (1993, very honourable mention with the congratulations of the jury). Between 1997 and 1999, he teaches the Linguistique with the Université of Cergy, the Stylistique with the Université of Paris VIII and gives occasional conferences to the Polytechnic school.

Youth

From 1973 to 1975, during its studies, it publishes its first film critics in a local professional sheet, the Lorraine screen , sign the music in a college of Nancy and gives piano lessons and of flute. It is also interested in the cinema: great age (16mm N&B); Three plans (16mm coul.); ice and iron (16mm coul. and N&B).

Radio

In 1975, it settles in Paris and becomes producer with Radio France (France Musique and France Culture). It makes a training course of assembly (its) to INA in 1976-1977, under the direction of Maïc Chomel; following what he briefly teaches it with the Higher National Academy of Arts and trades. There remains an occasional collaborator with France Culture.

Journalism

In 1978, it founds with Louis Dandrel the Monde of the music . Between 1982 and 1984, he is department head in this review.

In 1981, it takes the succession of Maurice Fleuret at the heading classical music of the Nouvel Observateur, function which it occupies still today. It publishes literary and cinematographic criticisms occasionally.

Between 1995 and 1997, it founds and directs the monthly review Symphonia .

He collaborates in various newspapers and re-examined: Le Monde , Le Figaro , Release , Tuning fork , Harmony , the NRF , Theodore Balmoral …

It takes in July 2003 the succession of Robert Scipion, with the Nouvel Observateur, the heading cross Mots , while continuing its journalistic collaboration. Since September 2007, it reads a beginning of different book the every day, in video (bibliobs.com).

Music

After having directed the integral recording of the symphonies of Beethoven transcribed by Liszt for piano alone, project which it carried and concluded at Harmonia Mundi (with Alain Planès, Georges Pludermacher, Michel Dalberto, Paul Badura-Skoda, Jean-Louis Haguenauer and Jean-Claude Pennetier), it continues until 2004 to date exerting on the occasion the function of artistic director for this mark (, about thirty discs were carried out under its direction, of which the integral of the sonatas of Mozart by Georges Pludermacher, of night of Chopin and work for piano of Moussorgski by Brigitte Engerer. It records much with Alain Planès: several discs Debussy, two Scarlatti, three Haydn, and the integral of the sonatas of Schubert). An integral Debussy with Jean-Louis Haguenauer is in hand in other editors.

In January 1998, it gives to the theater of Bouffes North one week of public courses of interpretation, devoted to the sonatas for piano of Beethoven.

Many conferences.

Very concerned about musical transcriptions, it publishes in Durand the Schwanengesang , of Schubert/Liszt, new since the XIXe century. It carries out itself many transcriptions, in particular the two symphonia concertantes of Mozart for two pianos (created by Georges Pludermacher and Jean-François Heisser), the Boléro of Ravel for four pianos (created by B. Engerer, Mr. Béroff, A. Planès and JF Heisser), the prelude of the Gold of the Rhine for twelve pianos, the penultimate sonata of Schubert for string quartet, the fifth symphony of Beethoven, for piano and orchestra (created by Frank Braley and the orchestra of Montpellier), the seventh quartet of Beethoven for piano alone (created by Cyril Huvé), Symphony 103 of Haydn for two pianos, seven quartets of Mozart for two pianos and of many parts of organ of Jean-Sebastien Bach for piano alone. In 2005, appears at Accord/Universal a recording of its version for viola and piano of the Schwanengesang , according to Schubert and Liszt. It creates in 2007, within the framework of the Festival of Radio France and Montpellier, a series entitled " Large the transcriptions": five recitals (one or two pianos) which will be published out of CD (Agreement/Universal).

Edition

It directs, in 1992 and 1993, the collection Guillemets , in Bernard-Coutaz, who will include/understand eight titles published: Saint-Simon I and II, Hugo, Littré, Michelet, Proust, Buffon, Marcello.

Readings - Spectacles

It is reciting, alone or with partners musicians (Jean-Louis Haguenauer, Alexis Galpérine, Brigitte Engerer). It read prose and poetry in various places of France (Theater of Metz, of Epinal, Théâtre of Châtelet, Opéra Bastille). It made a round with texts of Saint-Simon, another with Proust. With the Festival of Fall, it reciting it for was slowed down the , new melodrama of Gerard Pesson according to Michaux, and other works for reciting and piano or orchestra (direction Dominique My), in particular its own text, the worship of the ancestors, died or sharp . It read its Mort of Louis XIV to the festival of Chabotterie 2004, in the Vendée, in company of Marc Wolf (guitar baroque). This same monolog was put in waves by France Culture (réal. Michel Sidoroff), with Jean Martin in the role of the king. Two of the three texts forming its work Children' S corner were read many times by Sami Frey, in company of Frederic Chiu (piano). Its translation of the King Lear was recorded by France Culture (réal. Jacques Taroni), with Michel Galabru in the title role, Yann Colette, Evelyne Didi, Denis Washing, Andre Wilms, William Mesguich, Charles Gonzalez…

Publications

the watcher , account (Slats, 1984)
Passing notes , newspaper of amateur (Ramsay, 1986)
Liszt transcriber or well ordered charity , study (Actes Sud, 1986)
the book of the regrets , inventory (Actes Sud, 1987)
Schubert and the infinite one: at the horizon the desert , study (Actes Sud, 1988)
Treated French punctuation (Gallimard, 1991)
Charles of Orleans or the genius melancholic person , theater with reading (Slats, 1993)
Eureka, genealogy and semantics of the verb “to find” (Gallimard, 1995)
the gift of silence , with photographs of Jean-Pierre Gilson (Edilarge, 1995)
Tomb of Verlaine , file (Gallimard, 1996).
Children' S corner (Gallimard, 1997)
Of the music , written I (Gallimard, 1998)
Matter on imperfect the , test (Zulma, 1999)
the lying ones, study on “the death of the lovers” of Charles Baudelaire (Gallimard, 2001)
the quiz of Obs (Thousand and One Nights, 2001)
Face to face (Gallimard, 2003, Folio, 2005)
Died of Louis XIV , table according to Saint-Simon (Escampette, 2006)
ice and iron , written II (to be appeared).

Conversations with Stockhausen , of Jonathan Cott, Slats, 1979 (translation)
Monteverdi , of Leo Schrade, Slats, 1981 (translation)
Conversations with Glenn Gould , of Jonathan Cott, Slats, 1983, and 10/18, 2001 (translation and foreword)
the art of the running away, last work of Bach for harpsichord , Gustav Leonhardt, Van de Velde, 1985 (translation)
Glenn Gould and Franz Liszt , in Conference Glenn Gould, Louise Courteau, Montreal, 1992
Schubert: album of family, Slats, 1992 (foreword)
the theater with the mode at the XVIIIe century , of Benedetto Marcello, Coutaz, 1993 (foreword)
Charles of Orleans , Robert Louis Stevenson, Gallimard, 1993 (translation, foreword and notes)
the king Lear , of William Shakespeare, Actes Sud, 1993 (translation and foreword)
" Pi" , " Pythagore" , " Function monotone" , " Function scalène" , in double games , of Stella Baruk and coll, Threshold, 2000
" Incompletion perpétuel" , in death and immortality , of Frederic Lenoir, Jean-Philippe de Tonnac and coll, Bayard, 2004.
" The hut of the échec" , in Agnes Varda, the island and it , Cartier Foundation, 2006.

Autobiographical note

(Dictionary of the contemporary writers of French language by themselves , under the direction of Jerome Garcin, Thousand and One Nights)

Born disappointed in an area from filth and dust, where the factories and the houses were looked at very near, it soon knew that its nearest death would occur after one period of obstructions, of occlusions: glaires and snots, out of generalized stopper; it however does not cease moving back - it too.

He claims that the man can be to trust of oneself, with three titles only: that of the love, that of work, finally that of the ternary rate/rhythm. What thinking, Drillon quickly limited to futility, incompletion, the speed - liking little, working quickly, never not valsant.

It drew up by play the list of the trades which it had exerted. Terror by its length, it destroyed it at once. Nevertheless, one can say that he was professor during his studies of letters, producer of radio of 1975 to 1977, and journalist since, mainly to “Nouvel Observateur” (of 1981 to our days). The remainder consists of relative subordinate clauses.

He claims to be worried only tiny things, like the lives of the same name. Thus two of its books relate to the punctuation or the regret, which seem secondary. If it is interested in Schubert, it is for its unfinished works; of Liszt it retains the transcriptions; of Verlaine, the burial; history of poetry, Charles of Orleans. Its book Eureka , subtitle " Etymology and semantics of the verb trouver" , tends to prove that one can explain the world through one only word; its test lying the which one can include/understand all the Fleurs of the evil starting from a single sonnet, and its Propos on imperfect the that the tobacco is at the same time the mark of the human dissatisfaction and its remedy. He still claims definitively to have turned over the spyglass through which one looks at the things, and to have adopted one beautiful day a currency that it disavowed forever: “For want of anything better. ”

The music occupied it more than any book, to read or write. Because it represents, he always claims, which the man can do of better on ground, nobler, of truer, of higher, but also of more intelligent.

Lives in the countryside for a very long time, surrounded by dead and the alive ones. Holder of the driving license the motor cycles and the cars, father of two admirable children, owner of two pianos and a blue slate harpsichord with broad nets of fine gold, by itself affixed. Distinctive sign: impatient.

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