Masahiro Aogaki étudie la composition à l’Université des arts de Tokyo (Tokyo Geidai), où il obtient un master dans la classe d’Ichiro Nodaïra. Depuis 2017, il étudie au Conservatoire de Paris (CNSMDP) dans la classe de Stefano Gervasoni, et dans celle des nouvelles technologies de Luis Naón, Yan Maresz, Grégoire Lorieux, Yann Geslin et Oriol Saladrigues, où il obtient son diplôme avec mention Très Bien à l’unanimité en 2022.
Dans son processus compositionnel récent, il s’intéresse tant à la redéfinition des identités instrumentales, vocales ou textuelles, qu’à la contextualisation de langages musicaux préexistants. Ses partitions ont été interprétées par l’Orchestre de Picardie, l’Orchestre de Caen, l’Ensemble Intercontemporain, l’Ensemble Court-Circuit, l’Ensemble Muromachi, l’Ensemble Next, Collettivo_21, le Duo Jeux d’Anches, entre autres. Il a participé à diverses master classes et reçu les enseignements de Tristan Murail, Allain Gaussin, Philippe Manoury, Jean-Luc Hervé, Marco Momi, Jaime Reis, Joji Yuasa, Hiroyuki Ito et Misato Mochizuki.
Il a bénéficié des bourses de la Fondation culturelle de Meiji Yasuda, de la Fondation Nomura, de l’Agence pour les affaires culturelles du Japon, de la Fondation Kakehashi et du Centre International Nadia et Lili Boulanger.
En 2022-23, il suit le cursus de composition et d’informatique musicale de l’IRCAM où il étudie notamment avec Pierre Jodlowski et Simone Conforti.
Son premier concert a eu lieu à Paris en juillet 2023.
Dé-monologue is a cycle of five pieces based on poems by Ghérasim Luca (1913-1994).
Enigmatic and tragic, this Romanian poet abandoned his real name, his native country and his mother tongue to write almost exclusively in French. At the age of 80, he committed suicide in the Seine, leaving these few words behind: “Since there is no longer any place for poets in this world”.
De-monologue, can mean either a decomposed monologue or a demonologist (that is to say one who studies demons); it is in this semantic ambiguity that my piece is located. This portmanteau word is central in Luca’s work. It embodies a profusion of disordered, jostling thoughts, a schizophrenic state which gives rise to dissociative identity disorder. My piece can be understood as a virtual individual, torn into five sub-personalities. Independent of each other, they weave fragile relationships between them through words, syllables or phonemes.
Often characterized by stuttering and phonetic slips, Luca's poems explore a form of primordiality of orality located at the origin of language. To do this, he abandons all discursive and semantic coherence.
In the electronic part of my piece, I used recordings of his voice and gave him the role of an invisible soloist who dialogues with the two soloists present on stage, namely the soprano and the flautist. This interaction between “visible” and “invisible” soloists refers once again to this misleading and fluctuating identity which has characterized my work for several years.
Masahiro Aogaki