Born in Paris, France, in 1975, André Brégégère came to the United States in 2003. He spent two years in Boston, where he studied Jazz composition with Ken Pullig, Greg Hopkins, earning his BM at the Berklee College of Music in 2005. In 2006, he moved to New York and has been since studying privately with Bruce Saylor at the Aaron Copland School of Music, where he is currently working towards his MA in composition. In 2008, Mr. Brégégère has been awarded the prestigious Chancelor’s Fellowship from the City University of New York, and will start his doctoral studies in composition at CUNY beginning next Fall.
During the past two years, Mr. Brégégère has been involved in the organization of new music concerts in New York City, as the vice president and president of the QC New Music Group (www.qcnmg.net). He recently started—in collaboration with fellow composer Inés Thiebaut—the Dr. Faustus Chamber Concert Series, which held its first concert on May 8th 2008 at the St. Peter’s church in Chelsea (for more information about Dr Faustus, email at: firstname.lastname@example.org). Mr. Brégégère is a member of ASCAP.
Vol de nuit was written during the Spring of 2007 and received its first performance in May of the same year. It is based on the interplay of two contrasting ideas: the first idea, stated in the opening gesture the opening gesture, is submitted throughout the piece to a process of orchestral and rhythmic re-interpretations; the second, contrasting idea is first stated as a simple accompanied melody. It later returns, unfolding in a slow, contrapuntal passage, leading to the primary climax of the piece.
The pre-compositional material from which Vol de nuit is derived uses symmetry as its main structuring force, and is based on my—rather naïve—interpretation of the theoretical writings of George Perle, to whom this piece is dedicated. I am also indebted to my teacher, Bruce Saylor, for his attentive guidance and support; to the Second Instrumental Unit, David Fulmer and Marc Williams for their inspired first performances of many of my works during the past two years—including the present piece.