Composer and Conductor (1907-1981).
At the Paris Conservatoire National Supérieur de Musique, he studied conducting with Samuel Rousseau. Noël Gallon and Philippe Gaubert and composition with Paul Dukas.
He obtained in 1930 Rome First Grand Prize for his cantata "Acteon". Appointed conductor at the RTF (Radiodiffusion Télévision Française), he conducted many concerts in Paris symphonic associations.
Teaching composition, at the Conservatoire as soon as 1946, he became in 1975 a member of the "Institut".
His expressive writing follows the traditional trend of romantic and impressionist music, in a progressive way and without any conservatisme. His works are very various: works for piano, chamber music, vocal works, two symphonies, some film musics, ballets, and in 1974, his Opera "Goya".
TONY AUBIN didn't like our contemporaries' fascination for manipulation, movement, change, breaking, for this sort of exacerbated seeingness with which the Western culture has too often satisfied for some decades.
His intense intelligence bewared of fakings, ear deceits, everything that can't be directly caught and checked by the only sense music appeals to hearing:
And thus, through every upheavals in the music of the 20th century, TONY AUBIN's work appears like a sort of isolated evidence: it challenges us to remind us that the musical language, like the great ancestor's one, always carries emotions and relational qualities that justify its being.
No doubt that with such a behaviour, TONY AUBIN was considered as fringing by the dominant musical class that his music won't probably be acknowledged yet before some times.
TONY AUBIN was perfectly conscious of his position.
His comprehensive culture, his brilliant mind made him accept his lot with a smiling philosophy though sometimes nostalgic.
I believe that he drew his energy from his pedagogic activity: he was, indeed, during a quarter of a century, a composition teacher at the Paris Conservatoire National Supérieur de Musique and gave to France two generations of composers, all of them different and fed with the professional exatingness he inculcated upon them.
All of them who benefited from TONY AUBIN's teaching can't remember without emotion the quality of his welcome and remarks; his immense culture linked with a formidable humour that he wielded with a disconcerting virtuosity, were really only an exquisite form of modesty: he could see his contemporaries's music differ from that he was fond of.
By this way, this record is not only a homage to a person unknown from the public, but also the illustration of the state of the 20th century Western music, where the most different musical thories were imagined at the same time and in practically the same places.
No one can say what the future will hold back from the current works: it is obvious that research workers, historians and musicologists of forthcoming centuries won't lack of topics for their reports and polemics, when they'll notice that, when Edgard Varese was composing "Ionisation". TONY AUBIN was completing the Sonata recorded on this disc.
In this field, our successors will undoubtedly have many discoveries to make.
This cultural and musical paradox was deeply embodied in TONY AUBIN's personality.
In a period that expresses itself only with statements and progresses only by the elaboration of the most serious theories, he knew how to remain Montesquieu's god-son when he wrote in "L'Esprit des Lois": "Seriousness is the shield of fools...".
TONY AUBIN was wrong, however exemplary, to hold fast to the music he liked.