Composer and teacher born in Bordeaux in 1960, Denis Bosse has lived in Belgium since 1989 and the major part of his musical activity takes place there. After studying science, entering the Bordeaux Regional Conservatory, where he worked with François Rossé, Michel Fusté-Lambezat, Marc Jaureguibery, and where he obtained First Prizes for analysis and composition. In parallel, he took part in various composition seminar, with Zbigniew Rudjinski in Bayreuth, Brian Ferneyhough in Darmstadt and Luigi Nono at the Centre Acanthe in Villeneuve-lez-Avignon. After his arrival in Brussels he followed advanced classes at the Brussels Royal Conservatory with Jaqueline Fontyn, then with Frederic Rzewski at the Liège Conservatory and Patrick Lenfant at the "Centre de Recherches et de Formantion Musicales de Wallonie". In 1996, he attended computer music seminar at IRCAM, Paris. Several of his works have been the object of official commissions; both in France and Belgium, and his music has been played in various other countries including Austria and Canada. Denis Bosse teaches musical education at the "Haute Ecole Galilee" and stylistic studies at the Auderghem Academy.rnrnIn his composition he has experimented extensively in the exploration of the phenomenon of listening, which he calls "fields of the inaudible". Because for him, one listens to music whenever it is not heard, i.e. in the inaudible, composition therefore consisting of different ways of answering these questions: What is the way of listening that produces and transforms the sound being listened to? What is the nature of the relationship that thus comes into being, and where is it situated? In this sense Bosse is part of a movement followed by Luigi Nono and after him by Helmut Lachenmann, not as regards aesthetics, rather because his music is based on philosophical consideration of the phenomenological kind. Denis Bosse is interested by what happens between materials and the way in which they are subjectivised, listened to, for example how they appear and disappear. His approach is also connected to earlier preoccupations, as it is based on the problem of concertation in the sense of a "concerting" attitude, i.e. a counterpointing of different modes of listening. It is also connected, more indirectly, with the harmonic experimentation of Henri Pousseur. This exploration gives rise in this way to poetic songs, crystallisations of the inaudible.
(Source : Cyprès Records)