David Hudry's music draws its inspiration from the graphic arts, particularly in the works and reflections of painters such as P. Klee and W. Kandinsky, M. H. Vieira da Silva and Zao Wou-Ki.
If these influences are deeply rooted in him, his music is now going to an original path through the themes of the industrial world and abandoned places. This new source of visual and sonic inspiration gives to his music a new breath in which the pulsation, the rhythm and the timbre play an essential role. He draws all the material that gives vitality and a singular energy to his music from images of abandoned factories or uninhabited places, and from the industrial sounds of factories still active.
While at the “Conservatoire de Montpellier”, he also pursued Musicology at the University Paul Valery (Montpellier) and obtained his Master's-level teaching certification “Agrégation” in musicology in 2002. In 2008, he completed his “Diplôme de Formation Supérieure” in Composition and New Technologies with honours at the “Conservatoire National Supérieur de Musique et de Danse de Paris” under the guidance of E. Nunes, S. Gervasoni (composition) and L. Naon (electro-acoustics). In 2006, he was selected for the yearlong Ircam program of composition and new technologies.
David Hudry was awarded the Meyer Foundation bursary (2006), Pierre Cardin Prize (Institut de France, Académie des Beaux-Arts, 2012), Fondation Francis et Mica Salabert Prize (Sacem 2015), and the Ernst von Siemens Fondation’s Young Composers Prize (2016).
Especially sensitive to the relation between instrumental writing and its extensive deployments in electronics, David Hudry researches very early on, a form of vigorous interaction between the performer and the machine - an axis of his compositional output. He participated in the Cursus for composition and new technologies at Ircam (2006) in which he explored different tools for computer-aided compositions to deepen his reflections on aesthetics tied to new technologies. His musical productions attest to the interest that he devotes to new technologies, not only as a mode of production of new sounds but also as a real conception tool for composition.
He has received support from numerous festivals and ensembles for his creations, among them Festival Extension, Les Musiques (GMEM), Musica, Musiques démesurées Clermont-Ferrand, Archipel, June in Buffalo, BW Ensemble-Akademie, Montréal Nouvelles Musiques, Musique Electronique/Musique Mixte (Centre Henri Pousseur), Vale of Glamorgan, Sound Aberdeen ; Orchestre philharmonique de Radio France, Ensemble intercontemporain, Ensemble Modern, ensemble recherche, Freiburger Barockorchester,Lemanic Modern Ensemble, quatuor Arditti, quatuor Tana, Multilatérale, Ars Nova, Ensemble Linea, Octandre (Londres), Konvergence (Prague).
His music is often nourished and founded upon the special relationship he has with interpreters who accompanied him in achieving his musical ideas: P. Strauch, E-M. Couturier and A. Billard (Ensemble intercontemporain), C. Desjardins, Lorelei Dowling (Klangforum Wien), S. Ballon, L. Bord, L. Gaggero et L. Camatte.