Politics, art and social reality, video, light, spoken word, singing and music are all connected in an often elaborately interwoven, current work that effectively visualizes the absurd associations of Jelenik’s text.
Klassik.com, Ursula Decker-Bönniger, 28/08/2017 on Kein Licht
In his score [Philippe Manoury] has found a fitting counterpart to Jelinek’s text, which consists of quotes mined from various sources.
Stuttgarter Nachrichten, 28/08/2017 on Kein Licht
The musicians refined some of these brief wisps of sound into moments of exceptional beauty, like the glassy chords in a spectralist cloud of the second movement (“Calmo”) or the muted soft murmurs of the sixth (“Passaggio”).
Washington Classical Review, Charles T. Downey, 25/03/2017 on the Arditti Quartet’s US premiere performance of Fragmenti, String Quartet No. 4, at the Library of Congress
Following the death of Pierre Boulez, Philippe Manoury is the figurehead of the French avant-garde. In his 2010 violin concerto “Synapse”, the pioneer of computer music simulated shimmering, condensing feedback loops between the orchestra and the solo part with instrumental subtlety: Hae-Sun Kang steadily intensified the sound with cool and clear elegance.
Münchner Merkur, Anna Schürmer, 25/01/2016 on Synapse
At times the layers of sound roared around, as if the listener were being trampled by the four riders of the apocalypse or in the midst of a hailstorm. At other moments, the electronics chimed, crackled, gurgled, snapped, whispered, dissolved and caressed. A feast for the experiential completist, or even for the merely naive and curious.
The Guardian, Fiona Maddocks, 18/10/2015 on Le temps, mode d’emploi for two pianos and live electronics
The writing is sometimes strikingly beautiful, especially in the moments of stasis that are coloured by the decaying electronic sonorities echoing around the hall.
The Guardian, Andrew Clements, 13/10/2015 on Le temps, mode d’emploi for two pianos and live electronics
The rhythms in Manoury’s “Zones de turbulences” for two pianos and orchestra bombard the audience with humorous provocation, virtuosic fodder for the brilliant soloists Andreas Grau and Götz Schumacher, but no less so for the intensely present Deutsche Symphonie-Orchester Berlin under the confident baton of Frank Ollu. The orchestra highlights the sound of the pianos with softly woven string layers, it can join itself beyond recognition to the pianos with plucks from the harp and light tinkling tones on the wood block. Just as it seamlessly placed the most exact, dazzling accents in the wind.
Der Tagesspiegel, 23/01/2015
Behind the sharp particle fire and the subtle electronic sound drizzle that surround his music, a system of underground tunnels reveals itself, overlapping neatly stratified layers of sound. One can recognise here a connoisseur of the methods used by the two Richards, Wagner and Strauss. There is nothing hazy or soft about this music that is permeated by a secret network of polyphonic mazes in which Philippe Manoury, like a jealous Minotaur, divests us of Ariadne’s thread.
Télérama, Gilles Macassar, 24/09/2014 Portrait article on the occasion of the French premiere of In situ at Musica Strasbourg in September 2014
(…) in 2012 Philippe Manoury wrote very finely chiselled music in his Melencolia (d’après Dürer). Structured by the sound of bells, new and interesting sounds are produced. Suspense is guaranteed – Philippe Manoury retains it, almost casually, over the course of 40 minutes.
Schweizer Musikzeitung, Torsten Möller, June 2014 on Melencolia (d’après Dürer), String Quartet No. 3
The French composer Philippe Manoury […] is after substantial musical gestures and direct expression. Although Manoury is fond of large romantic gestures, he went on to find his own singular voice in the realm of chamber music and live electronics. There is a lot going on in “Le temps, mode d’emploi“ (2014) for two pianos and live electronics (...). Above all, the way the multiple live electronics interact with the two pianists is masterfully programmed; the polyphony of time that is produced is so invigorating that the time just flies by.
Neue Zürcher Zeitung, Alfred Zimmerlin, 14/05/2014
Manoury (born 1952) can be placed alongside the likes of Tristan Murail and Pascal Dusapin as one of the most influential French contemporary composers. Concealed behind his “Zones de turbulences”, which received its world premiere by the Musica Viva, is a concerto for two pianos after the classic model. (...) His concerto for two pianos is an ingenious work, so full of secrets that one immediately wants to listen to it again. It references French models in its highly sensitive sound. But its sensuality comes above all from the fact that it is so carefully constructed.
Süddeutsche Zeitung, Michael Stallknecht, 16/12/2013