Entre racines romantiques et nouveaux questionnements

This article proposes to determine the linguistic, technical and formal elements that underpin the Durosoirian idiom. Employing an analytical approach, it attempts to broaden consideration of his compositional practice to reveal an aesthetic position. The polarity of the language and its harmonic logic are examined first, focusing mainly on his “Le Lis” sonata for violin and piano. This leads into an exploration of formal necessity and its implications, viewed from the perspective of the avenues opened up by the post-Franckist culture of the cyclical form as well as by neoclassical legibility. Finally, questions of subtext and programme music are examined in tandem with the question of models, both in terms of technique and genre, with the aim of outlining a distinctive stylistic identity.