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When Andre entered elementary school, he also started piano lessons. From an early age, he was fascinated by the intricate way piano pedals make sounds resonate. “The phenomenon of instability during that time, I was very aware of that," he said in an interview.
André studied composition at the Paris Conservatory, first with Claude Balif and then for a decisive year with Gérard Grisét. Known for his brilliant harmonies, Grissy introduced André to the music of Helmut Lachenmann, a renowned cartographer of noise.
When Andre first studied Lachenmann’s “Auskrang” score, with its brilliant interplay of timbre, resonance, and noise, it was difficult to decipher. Andre recalled in his head, “I probably heard 10 percent of the song.” However, he sensed that he had much to learn from Lachenmann, and moved to Stuttgart in 1993 to study with Lachenmann.
Andre grew up speaking the Alsatian dialect, which is related to German, and came to feel like Germany was his home. He has lived in Berlin since 2005 and in 2007 changed his name from its original spelling, Marc Andre, to the Germanized version of Marc Andre. His titles often quote small fragments from German translations of the Bible. On his 2008 chamber music album, each song is named after a preposition, a particle of language with a distinctively Christian resonance.
He teaches composition at the Carl Maria von Weber Academy of Music in Dresden, where he has produced some of Germany’s greatest champions, including violinist Isabelle Faust, clarinetist and composer Jörg Wittmann, and the Kuss Quartet. are.
Violinist Ilya Gringolts, who played André’s Violin Concerto “An” last year, said in a telephone interview that the work was so quiet that the recording captured most of the noise made by the audience. “It’s a very special feeling to be in front of an orchestra, which is actually a very large orchestra, and only be able to play very quietly and very fragilely,” Gringoltz said. “I’ve never had an experience like that.”
