ART ZOYD ORCHESTRE NATIONAL DE LILLE DIR. JEAN-CLAUDE CASADESUS LUC FERRARI GÉRARD PAPE GÉRARD HOURBETTE DANGEROUS VISIONS

LIVE 1998 En 1967, l’écrivain Harlan Ellison In 1967, writer Harlan Ellison commanda à divers auteurs de commissioned a number of science- science-fiction des nouvelles hors fiction writers to submit short stories des contraintes des écoles et du outside the constraints of schools and marché. La publication de ce recueil market. The publication of this original original, intitulé Dangereuses Visions, collection, entitled Dangerous Visions, had a determining impact, both in the eut un impact déterminant, par inspirations it revealed and the paths les inspirations qu’il révéla et les it opened up. A parallel is apparent to chemins qu’il ouvrit. Un parallèle us between the context behind these nous est apparu entre le contexte Dangerous Visions and the present: de ces Dangereuses Visions et the end of a golden age, with schools celui d’aujourd’hui: fin d’un âge d’or, fossilising, a sense of conformism, fossilisation des écoles, conformisme, renewed academicism, dissemination nouvel académisme, diffusion of ideas. So it seemed interesting des idées. II nous a donc semblé to try to reinvent these Dangerous intéressant de tenter de réinventer Visions in the current landscape of ces Dangereuses Visions dans contemporary musical forms, by le paysage actuel des musiques setting off transverse composition, contemporaines, en suscitant commissioning composers for symphonic «short stories» calling on des écritures transversales, en a wide range of material (symphony commandant à des compositeurs des orchestra and music technologies «nouvelles» symphoniques faisant applied on stage in real time), and appel à un matériau élargi (orchestre associating visual artists (in the symphonique et technologies fields of video, lights, architecture, musicales appliquées en temps cyberspace, virtual reality): a new réel à la scène), d’y associer des adventure... créateurs de visions (vidéo, lumière, architecture, cyberspace, réalité virtuelle) : une nouvelle aventure... Gérard Hourbette (1998) In 1967, writer Harlan Ellison commissioned a number of science- fiction writers to submit short stories outside the constraints of schools and market. The publication of this original collection, entitled Dangerous Visions, had a determining impact, both in the inspirations it revealed and the paths it opened up. A parallel is apparent to us between the context behind these Dangerous Visions and the present: the end of a golden age, with schools fossilising, a sense of conformism, renewed academicism, dissemination of ideas. So it seemed interesting to try to reinvent these Dangerous Visions in the current landscape of contemporary musical forms, by setting off transverse composition, commissioning composers for symphonic «short stories» calling on a wide range of material (symphony orchestra and music technologies applied on stage in real time), and associating visual artists (in the fields of video, lights, architecture, cyberspace, virtual reality): a new adventure... Lille, March 13th, 1998 Gérard Pape, Luc Ferrari, Jean-Claude Casadesus, Gérard Hourbette à s’inscrire dans mes partitions Tautologos IV (1996-97) LUC FERRARI instrumentales. C’est pourquoi lorsque Symphonic suite for large orchestra and j’ai rencontré les «répétitifs américains», Tautologos IV (1996-97) four samplers. au début des années 70, je n’ai pas été – bloc Suite symphonique pour grand surpris. C’est cette mystérieuse parenté, – interstice orchestre et quatre échantillonneurs. le fait que des individus à travers des – tautologie – bloc expériences différentes, font un pas Tautologos 4 was commissioned by Art – interstice ensemble sans le savoir. Zoyd Studios, the Orchestre National de – tautologie Tautologos 4, qui vient plus de vingt ans Lille with the support of the ministry of Tautologos IV est une commande d’Art après Tautologos 3, se situe aussi dans Culture and Communication (1996) Zoyd Studios, de l’Orchestre National de la même idée de répétition ou de cycle, Lille avec le concours du Ministère de la peut-être avec des libertés plus grandes, Instrumentation: 4 flutes (including 2 Culture et de la Communication (1996) peut-être avec moins de systématisme, piccolos), 4 oboes, 4 clarinets (including encore que la systématique n’a jamais 2 English horns), 4 bassoons - 4 French Instrumentation 4 flûtes (dont 2 été mon fort ni mon faible. horns, 4 trumpets, 4 trombones, 2 tubas, piccolos), 4 hautbois, 4 clarinettes (dont Au fil du temps les choses évoluent, harp, piano, tympani and percussion, 2 cors anglais), 4 bassons - 4 cors, 4 les cycles se dérèglent ou se joignent. strings trompettes, 4 trombones, 2 tubas, harpe, Partis de loin, les cycles se diversifient piano, timbales et percussions, cordes encore dans des domaines les plus Tautologos is a title I have been using Tautologos est un titre que j’utilise secrets ou le silence fait oublier l’objet for a very long time. The first was in depuis très longtemps. Le premier du cycle. Ce qui est intéressant là, 1961, early on in my experiences in the c’était en 1961, au début de mes c’est de retrouver des préoccupations field of what was at the time known as expériences dans le domaine de ce que anciennes - bien qu’entre-temps musique concrète. I was among the l’on appelait à l’époque « la musique ayant servies sans être nominées - et young members of the Avant-garde concrète ». C’est-à-dire que j’étais les employer volontairement comme who fiddled with technology-oriented parmi les jeunes gens de l’Avant-Garde propos, m’a entrainé à faire une experimentation. Tautologos, to me, qui tripotaient dans l’expérimental musique très différente de celle que je meant cyclic repetition. technologique. Tautologos pour moi faisais jusque la. Me semble-t-il. But even before then, I had developed voulait dire: répétition en cycle. Luc Ferrari, le 22 juillet 1996 an interest in cycles-based ideas which Mais déjà avant, j’étais intéressé par began to appear in my instrumental les idées de cycles qui commençaient scores. And so when I encountered à s’inscrire dans mes partitions Tautologos IV (1996-97) the «American repetitives», in the early instrumentales. C’est pourquoi lorsque Symphonic suite for large orchestra and Seventies, I was not surprised. There j’ai rencontré les «répétitifs américains», four samplers. was this mysterious sense of kinship - au début des années 70, je n’ai pas été – bloc the fact that individuals, coming from surpris. C’est cette mystérieuse parenté, – interstice different backgrounds and without being le fait que des individus à travers des – tautologie aware of it, take a step together. expériences différentes, font un pas Tautologos 4 was commissioned by Art Tautologos 4, which appears over twenty ensemble sans le savoir. Zoyd Studios, the Orchestre National de years after Tautologos 3, is also about Tautologos 4, qui vient plus de vingt ans Lille with the support of the ministry of similar ideas of repetition or cycles, après Tautologos 3, se situe aussi dans Culture and Communication (1996) possibly with increased freedom, and la même idée de répétition ou de cycle, maybe less of a systematic approach, peut-être avec des libertés plus grandes, Instrumentation: 4 flutes (including 2 even though being systematic has never peut-être avec moins de systématisme, piccolos), 4 oboes, 4 clarinets (including been one of my strong - or weak - points. encore que la systématique n’a jamais 2 English horns), 4 bassoons - 4 French Things evolve over time, and cycles été mon fort ni mon faible. horns, 4 trumpets, 4 trombones, 2 tubas, either go astray or join together. Coming Au fil du temps les choses évoluent, harp, piano, tympani and percussion, from afar, cycles further diversify in very les cycles se dérèglent ou se joignent. strings secret areas where silence makes one Partis de loin, les cycles se diversifient forget the object of the cycle. What is encore dans des domaines les plus Tautologos is a title I have been using interesting in this is to rediscover long- secrets ou le silence fait oublier l’objet for a very long time. The first was in time concerns - although meanwhile du cycle. Ce qui est intéressant là, 1961, early on in my experiences in the they were present albeit not named as c’est de retrouver des préoccupations field of what was at the time known as such - and intentionally using them as anciennes - bien qu’entre-temps musique concrète. I was among the subject matter, led me to make music ayant servies sans être nominées - et young members of the Avant-garde that was very different from anything I les employer volontairement comme who fiddled with technology-oriented had done before. Or so it seems to me. propos, m’a entrainé à faire une experimentation. Tautologos, to me, Luc Ferrari, July 22nd 1996 musique très différente de celle que je meant cyclic repetition. faisais jusque la. Me semble-t-il. But even before then, I had developed Luc Ferrari, le 22 juillet 1996 an interest in cycles-based ideas which began to appear in my instrumental scores. And so when I encountered BLOC Si je parle ici de magma informel, des passages : comme un escalier, BLOC Calling this an ‘informal magma’ c’est pour fixer le caractère de l’action comme le bruit de draperie, de soieries ; je was a way of setting the character of musicale et la situation psychologique dis cela parce que ce sont des bruits que the musical action and the listener’s de l’écoute. Le désir est de créer dans l’on retrouve dans la composition. psychological situation. The idea, with this ce premier mouvement, un son très fort, TAUTOLOGIE Ce troisième mouvement first movement, is to generate a sound that le plus fort possible et qui semble durer est fait de vingt et une phrases musicales is very powerful, indeed as powerful as très longtemps. Dix minutes exactement, relativement courtes et qui se racontent possible, and seems to last for a very long pas une seconde de plus. C’est vouloir un dans une ambiance harmonique familière. time. Ten minutes precisely, not one second morceau de son complètement radical. Chaque phrase est suivie d’un silence more. It is about a completely radical C’est une volonté de créer un état sonore relativement long et de durée variable mais sound fragment, a will to create a very très particulier, comme un bain. Ou un calculé. Chaque phrase se répète donc en specific sonic state, like a bath. Or a wall mur qui entourerait l’auditeur et qui aurait cycle. C’est ce que j’appelle une tautologie surrounding the listener, which would have toutes les apparences de l’immobilité qui est ici le résultat, pendant un temps every semblance of immobility (yet even in (mais dans immobilité il y a mobilité). donné, de la superposition de ces vingt et immobility, there is mobility). INTERSTICE L’interstice pour moi est un cycles. Chaque phrase musicale est INTERSTICE The interstice, to me, is quelque chose qui est «entre», mais attribuée à des instruments. something that is «between», but occurs qui vient par inadvertance. S’il s’agit de Par le jeu des superpositions hasardeuses inadvertently. In the context of speaking, it is parole, l’interstice est ce quelque chose dues à la durée des différents cycles, des something which is unintentional, unplanned qui est involontaire, non programmé dans impossibilités instrumentales surgissent in one’s speech. It is a passage, like a gap le discours. C’est un passage, comme qui obligent à transformer soit les objets, or a pause which can be helpful in getting un creux ou une respiration qui sert à soit l’instrumentation. C’est ce que to the next idea. Spoken word, except for chercher la suite d’une idée. La parole, j’appelle la tautologie constructive. doublespeak, is about improvisation. In en dehors de la langue de bois, est une II se peut aussi que la rencontre de doublespeak, there are no interstices. When improvisation. Dans la langue de bois, il n’y plusieurs phrases crée une idée nouvelle, improvising, whenever the leading idea a pas d’interstice. Dans l’improvisation, au c’est ce que j’appelle la tautologie falters, so does inspiration, sometimes moment où une idée n’est plus directrice, spontanée. Ce qui explique que cette causing concern: this gap between two l’inspiration se cherche, quelque fois composition qui est le résultat d’un calcul ideas is infinitely charming in its fragility, it is avec inquiétude : ce creux entre deux producteur d’aléatoire et de spontanéité, a sensitive patch, a pointer, even. Noises too idées est infiniment délicieux de fragilité, doit être entendu comme frottement have interstices, like metaphorical pathways: il est plaque sensible, pour ne pas dire des idées, entre réalité des cycles et like a staircase, the sound of drapery, or silk; révélateur. Les bruits ont aussi leurs interférence des éléments. I say this because these are sounds which interstices, métaphoriquement comme Luc Ferrari, septembre 1997 appear in in the composition. BLOC Calling this an ‘informal magma’ TAUTOLOGIE This third movement was a way of setting the character of consists of twenty-one relatively short the musical action and the listener’s musical sentences, which are stated in psychological situation. The idea, with this a familiar harmonic environment. Each first movement, is to generate a sound that sentence is followed by a relatively long is very powerful, indeed as powerful as silence, whose length is both variable and possible, and seems to last for a very long calculated. Consequently each sentence time. Ten minutes precisely, not one second is repeated cyclically. The result, which more. It is about a completely radical I call a tautology, is the superimposing, sound fragment, a will to create a very for a set duration, of these twenty-one specific sonic state, like a bath. Or a wall cycles. Each musical sentence is played surrounding the listener, which would have by a different instrument. Through the every semblance of immobility (yet even in random overlapping caused by the immobility, there is mobility). uneven duration of the various cycles, INTERSTICE The interstice, to me, is instrumental impossibilities occur which something that is «between», but occurs require changing either the objects or inadvertently. In the context of speaking, it is the instrumentation. This is what I call something which is unintentional, unplanned constructive tautology. in one’s speech. It is a passage, like a gap The conjunction of different sentences or a pause which can be helpful in getting can also generate a new idea : this is what to the next idea. Spoken word, except for I call spontaneous tautology. This is why doublespeak, is about improvisation. In this composition, which is the product of a doublespeak, there are no interstices. When calculation which produces randomness improvising, whenever the leading idea and spontaneity, should be understood as falters, so does inspiration, sometimes friction between ideas, between the reality causing concern: this gap between two of cycles and the interference of elements. ideas is infinitely charming in its fragility, it is Luc Ferrari, September 1997 a sensitive patch, a pointer, even. Noises too have interstices, like metaphorical pathways: like a staircase, the sound of drapery, or silk; I say this because these are sounds which appear in in the composition. LUC FERRARI (1929 – 2005) both individual and collective (1961- Luc Ferrari earned the Prize of 62). Sound recording, musical the Paris Biennale in 1962 for his Luc Ferrari has created works which illustration and coproduction of a orchestral composition Visage IV; in stray, to varying extents, away from series of television programmes, 1972, the Karl Sczuka Prize for the purely musical concerns. Some of «Chaque pays fête son grand homme» Hörspiel Portrait-Spiel; the Italia Prize them are based on the meeting of («every country celebrates its great in 1987, for his composition Et si different branches of what can be man») (1965). Taught composition at toute entière maintenant, and the Karl seen as a single tree, the aim being Cologne’s Rheinische Musikschule Sczuka Prize for his radio play Je me to try to express, through various (1964/65). Directed a film about suis perdu ou Labyrinthe Portrait; the means, ideas, sensations or fleeting Olivier Messiaen’s Turangalîla- French ministry of Culture’s Grand Prix intuitions; to observe everyday life in its Symphonie performed at the Zagreb National in 1989; in 1990, the Prize of wide range of realities, whether social, Festival (1965) then, together with the Koussevitzky Foundation for his psychological or sentimental. This Gérard Patris, a series of television symphonic work Histoire du plaisir et can exteriorise in the form of texts, programs on contemporary music: de la désolation ; in 1991, a second instrumental writing, electroacoustic Les Grandes Répétitions (Messiaen, Italia Prize for his radio play L’escalier compositions, reports, films, Varese, Stockhausen, Scherchen, des aveugles; in 2005, the Grand performances... Taylor). Taught experimental music Prix ‘In Memoriam’ of the Académie in Stockholm (1966). Spent a year in Charles Cros on the occasion of the He joined the Groupe de musique Berlin, invited by the DAAD (1967), was release of his albums Exploitation des concrète in 1958, remaining a member in charge of music at to the Maison Concepts N° 6 and Archives sauvées until 1966. Together with Pierre de la Culture d’Amiens (1968-69). des eaux – Exploitation des Concepts Schaeffer he formed the Groupe de In 1972, he founded Studio Billig, a N° 1. recherche musicale (1958-59)., which modest electroacoustics workshop, Luc Ferrari died in Arezzo, Tuscany, on he also led, alongside educational in Paris. Taught composition at the August 22nd, 2005. activities and a series of broadcasts Conservatoire de Pantin (1978-80). on musique concrète (1959-60), and In 1982, he formed the non-profit artistic and research direction of a organisation La Muse en Circuit, a small ensemble led by Konstantin studio for electroacoustic composition Simonovich; instrumental research and radio creation (1982). both individual and collective (1961- Luc Ferrari earned the Prize of 62). Sound recording, musical the Paris Biennale in 1962 for his illustration and coproduction of a orchestral composition Visage IV; in series of television programmes, 1972, the Karl Sczuka Prize for the «Chaque pays fête son grand homme» Hörspiel Portrait-Spiel; the Italia Prize («every country celebrates its great in 1987, for his composition Et si man») (1965). Taught composition at toute entière maintenant, and the Karl Cologne’s Rheinische Musikschule Sczuka Prize for his radio play Je me (1964/65). Directed a film about suis perdu ou Labyrinthe Portrait; the Olivier Messiaen’s Turangalîla- French ministry of Culture’s Grand Prix Symphonie performed at the Zagreb National in 1989; in 1990, the Prize of Festival (1965) then, together with the Koussevitzky Foundation for his Gérard Patris, a series of television symphonic work Histoire du plaisir et programs on contemporary music: de la désolation ; in 1991, a second Les Grandes Répétitions (Messiaen, Italia Prize for his radio play L’escalier Varese, Stockhausen, Scherchen, des aveugles; in 2005, the Grand Taylor). Taught experimental music Prix ‘In Memoriam’ of the Académie in Stockholm (1966). Spent a year in Charles Cros on the occasion of the Berlin, invited by the DAAD (1967), was release of his albums Exploitation des in charge of music at to the Maison Concepts N° 6 and Archives sauvées de la Culture d’Amiens (1968-69). des eaux – Exploitation des Concepts In 1972, he founded Studio Billig, a N° 1. modest electroacoustics workshop, Luc Ferrari died in Arezzo, Tuscany, on in Paris. Taught composition at the August 22nd, 2005. Conservatoire de Pantin (1978-80). In 1982, he formed the non-profit organisation La Muse en Circuit, a studio for electroacoustic composition and radio creation (1982). j’avais extrait l’idée de composer un Composition for orchestra and four GÉRARD PAPE fluide sonore en évolution permanente. samplers II y a une autre notion très intéressante Feu toujours vivant (1996-97) Feu toujours vivant was commissioned chez Héraclite, qui est la notion de by Art Zoyd Studios, the Orchestre Composition pour orchestre et quatre tendance, «tropai» en grec. Tendance National de Lille with the collaboration échantillonneurs au sens oil : le printemps tend vers of the ministry of Culture and l’été. À l’instar de la transformation Feu toujours vivant est une commande Communication (1996-97) d’Art Zoyd Studios, de l’Orchestre continue oil, un matériau se transforme Instrumentation 4 flutes, 4 oboes, 4 National de Lille avec le concours graduellement et imperceptiblement en clarinets, 4 bassoons, 4 horns, du Ministère de la Culture et de la un autre, dans le concept de «tropai». II 4 trombones, tuba, strings Communication (1996-97) est nécessaire que le premier meure afin que le second naisse. On ne peut être «This world-order, the same of all, no god Instrumentation 4 flûtes, 4 hautbois, en hiver et en été simultanément, par nor man did create, but it ever was and is 4 clarinettes, 4 bassons, 4 cors, 4 exemple. and will be: ever living fire.» trombones, tuba, les cordes Dans cette pièce, en suivant la My meditations on the musical « Ce monde, ni dieu ni l’homme ne l’ont description d’Héraclite, j’ai considéré implications of this assertion by fait. II a toujours été, est et sera toujours, les tendances successives du feu Heraclitus, the pre-Socratic Greek feu toujours vivant ». Mes méditations dans d’autres éléments primordiaux, philosopher, provided me with a starting sur les implications musicales de cette suggérant une forme musicale possible. point for this composition for orchestra affirmation d’Héraclite, philosophe grec Par exemple, la pièce commence and four samplers. présocratique, m’ont fourni un point par le feu tendant vers la mer. Bien The philosophy of Heraclitus had already de départ à cette composition pour évidemment, Héraclite n’a pas voulu been a major influence on another orchestre et quatre échantillonneurs. dire que le feu se transforme en mer composition of mine: Le Fleuve du Désir, La philosophie d’Héraclite a déjà littéralement, mais que la disparition a piece for string quartet. This time, largement inspiré une autre de mes du feu est la condition sine qua non the main idea was to consider water compositions : Le Fleuve du Désir, pièce pour que la mer existe. Selon Héraclite, as a liquid in perpetual motion. This pour quatuor à cordes. Dans celle-ci, même si le feu individuel disparait, le Heraclitean notion provided the idea l’idée centrale était de considérer l’eau Feu est toujours vivant et sous-tend to compose a sonic fluid in permanent comme un liquide en mouvement toutes les tendances temporelles de la evolution. perpétuel. De cette notion héraclitéenne, Nature en tant que substrat élémentaire There is another very interesting notion j’avais extrait l’idée de composer un Composition for orchestra and four in Heraclitus : the notion of trend, fluide sonore en évolution permanente. samplers «tropai» in Greek. Trend in the sense II y a une autre notion très intéressante of oil: Spring tends towards Summer. Feu toujours vivant was commissioned chez Héraclite, qui est la notion de As with the example of the continuous by Art Zoyd Studios, the Orchestre tendance, «tropai» en grec. Tendance transformation oil, a material gradually National de Lille with the collaboration au sens oil : le printemps tend vers and imperceptibly morphs into another of the ministry of Culture and l’été. À l’instar de la transformation Communication (1996-97) one, following the concept of «tropai». continue oil, un matériau se transforme One must die in order for the other to be graduellement et imperceptiblement en Instrumentation 4 flutes, 4 oboes, 4 born. One cannot be simultaneously in un autre, dans le concept de «tropai». II clarinets, 4 bassoons, 4 horns, Winter and Summer, for example. est nécessaire que le premier meure afin 4 trombones, tuba, strings In this piece, on the basis of Heraclitus’ que le second naisse. On ne peut être «This world-order, the same of all, no god description, I considered the successive en hiver et en été simultanément, par nor man did create, but it ever was and is trends of fire in other essential elements, exemple. and will be: ever living fire.» suggesting possible musical forms. Dans cette pièce, en suivant la My meditations on the musical For example, the piece begins with fire description d’Héraclite, j’ai considéré implications of this assertion by tending towards the sea. les tendances successives du feu Heraclitus, the pre-Socratic Greek Of course, Heraclitus did not mean to say dans d’autres éléments primordiaux, philosopher, provided me with a starting that fire literally becomes sea, but that suggérant une forme musicale possible. point for this composition for orchestra fire’s disappearance is the indispensable Par exemple, la pièce commence and four samplers. condition for the sea to exist. According par le feu tendant vers la mer. Bien The philosophy of Heraclitus had already to Heraclitus, even though individual évidemment, Héraclite n’a pas voulu been a major influence on another fire disappears, it is still alive, underlying dire que le feu se transforme en mer composition of mine: Le Fleuve du Désir, all of Nature’s temporal trends as an littéralement, mais que la disparition a piece for string quartet. This time, elementary substratum – since fire is du feu est la condition sine qua non the main idea was to consider water not merely a physical element - but also pour que la mer existe. Selon Héraclite, as a liquid in perpetual motion. This all metaphysical implications - fire as même si le feu individuel disparait, le Heraclitean notion provided the idea creative principle. Feu est toujours vivant et sous-tend to compose a sonic fluid in permanent In Feu Toujours Vivant, thirteen short toutes les tendances temporelles de la evolution. sections represent, in sound, the trends Nature en tant que substrat élémentaire There is another very interesting notion of fire towards sea, earth and lightning le Feu n’étant pas seulement un élément storm, water, air... The piece ends with GÉRARD PAPE (1955) physique - mais aussi toutes les an apotheosis of fire. Each section implications métaphysiques - le Feu represents the birth and death of every American composer, born in New en tant que principe créateur. Dans Feu sonic material, a sort of «sound staging» York City in 1955, has lived in France Toujours Vivant, treize sections courtes of various Heraclitean elements.The since 1991. He studied composition représentent, de manière sonore, les disappearance of each successive sound privately with George Cacioppo and tendances du feu vers la mer, la terre et structure allows the trend towards a new William Albright and electronic music la tempête foudroyante, l’eau, l’air... La sonic material. This way, all sonic micro- with George Wilson at the University pièce s’achève sur une apothéose du parametric transitions are continuous of Michigan. He has composed more feu. Chaque section figure la naissance within each section, but intermittent, than 80 works for orchestra, chamber et la mort de chaque substance sonore, abrupt, between sections. ensemble, vocal and instrumental une espèce de «mise en son» des Gérard Pape soloists, and electroacoustic works. His différents éléments héraclitéens. La works have been played throughout disparition de chaque structure sonore the world, including by such renown successive permet la tendance vers performers as Arditti String Quartet, une nouvelle substance sonore.Ainsi, Voxnova, Ensemble 2e2m, Paul les transitions micro paramétriques Mefano, Nicholas Isherwood, Erik sonores sont continues au sein même Drescher, Irvine Arditti, Rohan de des sections, et cependant discontinues, Saram, Maurizio Barbetti, Daniel abruptes, entre les sections. Kientzy, Cécile Daroux, Roland Auzet, Gérard Pape Neue Vocalsolisten, Orchestre National de Lille (Jean-Claude Casadesus), the Orchestre de Flûtes Français, Estonian National Symphony Orchestra (Risto Joost) and the Ensemble U. Formerly director of the Ateliers UPIC/CCMIX from 1991 to 2007, Gérard Pape founded the C.L.S.I. (Cercle pour la Libération du Son et de l’Image), an ensemble consisting of 8 performers storm, water, air... The piece ends with GÉRARD PAPE (1955) playing instruments and computers an apotheosis of fire. Each section «live» in 2007. In 2010, Pape founded represents the birth and death of every American composer, born in New along with his wife, the Russian sonic material, a sort of «sound staging» York City in 1955, has lived in France composer, Olga Krashenko, the of various Heraclitean elements.The since 1991. He studied composition D.L.S.I., a duo wherein each composer disappearance of each successive sound privately with George Cacioppo and participates in the performance of the structure allows the trend towards a new William Albright and electronic music other’s works. Two recent CDs of his sonic material. This way, all sonic micro- with George Wilson at the University music came out in 2015 on Stradivarius parametric transitions are continuous of Michigan. He has composed more and Mode Records. Editions Michel within each section, but intermittent, than 80 works for orchestra, chamber de Maule in Paris published a abrupt, between sections. ensemble, vocal and instrumental bilingual book of Pape’s texts as well Gérard Pape soloists, and electroacoustic works. His as musicological texts about his works have been played throughout work, Musipoesci, in 2015. His most the world, including by such renown recent musical compositions, include performers as Arditti String Quartet, Harmonies Of Form And Time for six Voxnova, Ensemble 2e2m, Paul soloists and six orchestras, premiered Mefano, Nicholas Isherwood, Erik in March, 2012 and Harmonies Of Drescher, Irvine Arditti, Rohan de Time And Timbre for flute, 8 strings Saram, Maurizio Barbetti, Daniel and 8 channel tape premiered in Kientzy, Cécile Daroux, Roland Auzet, January, 2012 as well as the opera Neue Vocalsolisten, Orchestre National Why Poets? (premiered in May, 2014 in de Lille (Jean-Claude Casadesus), the Aberdeen, Scotland*). He was recently Orchestre de Flûtes Français, Estonian commissioned by the Sonar Quartet National Symphony Orchestra (Risto (Berlin) with funds provided by the Ernst Joost) and the Ensemble U. Formerly von Siemens Foundation to write his 4th director of the Ateliers UPIC/CCMIX String Quartet « Textures Turbulentes from 1991 to 2007, Gérard Pape et Formes Emergentes ». The work founded the C.L.S.I. (Cercle pour la was given its world premier in Berlin Libération du Son et de l’Image), an December 11th, 2016. ensemble consisting of 8 performers * Commissioned by Art Zoyd Studios la durée, elle accumule, répète, rebondit, For imaginary orchestras, visuals & GÉRARD HOURBETTE amplifie, superpose et puis s’étiole orchestra Glissements progressifs et disparait. La musique est la vie ; comme la vie, elle n’est que menace : Glissements progressifs du plaisir du plaisir de séparation ou d’oubli, de même que is a joint production by Art Zoyd and l’amour n’est que menace de perte, I’Orchestre National de Lille (1996) pour orchestres imaginaires, vidéo et et l’enthousiasme le paroxysme de la orchestre Instrumentation 2 flutes (one doubling futilité. on piccolo), oboe (one doubling on Glissements progressifs du plaisir English horn), 2 clarinets, 2 bassoons Glissements progressifs du plaisir est est une coproduction d’Art Zoyd et de (one doubling on contrabassoon), une oeuvre en un seul mouvement. l’Orchestre National de Lille (1996) 4 French horns, 4 trumpets, 4 trombones, Comme son nom l’indique, il y est tuba, tympani and percussion, strings Instrumentation 2 flûtes (dont un question de plaisir, et du plaisir. II fait piccolo), hautbois (dont un cor anglais), référence aussi au livre Ubik de l’écrivain I had never written for an orchestra, but 2 clarinettes, 2 bassons (dont un de science-fiction Philip K Dick, dans contrebasson), 4 cors, 4 trompettes, of as far that I remember, I used to hear lequel il est question d’un monde qui se orchestras and dreamed of orchestras: 4 trombones, tuba, timbales et désagrège peu à peu. percussions, cordes imaginary orchestras, sea orchestras, C’est une oeuvre névrosée et dérisoire. wind orchestras, crowd orchestras, Je n’ai jamais écrit pour l’orchestre, On tend à l’exultation par la répétition et machine orchestras... mais d’aussi loin que je me souvienne, l’insistance, on frôle le déséquilibre par j’entendais des orchestres et rêvais l’accumulation, et à chaque petit bout de Music for me has always been a d’orchestres : orchestres imaginaires, latence qui revient, comme un repos ou rebellious art form – rebelling against orchestres marins, orchestres de vent, comme un interstice, la machine repart. time, against the past, against extinction. orchestres de foules, orchestres de At the same time, it is subjected to machines... Je me suis demandé longtemps quels time and duration, it accumulates, extraits (car il s’agit bien d’extraits) repeats, rebounds, amplifies, stacks, La musique a toujours été pour moi un mettre ensemble et orchestrer pour then languishes and disappears. Music art de rébellion, contre le temps, contre bâtir ce mouvement de cette «nouvelle» is life; like life, it is filled with threats, of le passé et l’extinction. Mais en même symphonique. J’ai fini par admettre separation or oblivion, just like love is temps, elle est soumise au temps et à que ce ne serait jamais une oeuvre about the threat of loss, and enthusiasm, la durée, elle accumule, répète, rebondit, For imaginary orchestras, visuals & the paroxysm of insignificance. amplifie, superpose et puis s’étiole orchestra et disparait. La musique est la vie ; Glissements progressifs du plaisir is a comme la vie, elle n’est que menace : Glissements progressifs du plaisir single-movement work. de séparation ou d’oubli, de même que is a joint production by Art Zoyd and As its title indicates, it is about pleasure l’amour n’est que menace de perte, I’Orchestre National de Lille (1996) in its various guises. It also refers to the et l’enthousiasme le paroxysme de la book Ubik by science-fiction writer Philip Instrumentation 2 flutes (one doubling futilité. K. Dick, which depicts a world undergoing on piccolo), oboe (one doubling on gradual disintegration. English horn), 2 clarinets, 2 bassoons Glissements progressifs du plaisir est It is a neurotic, derisory work. There (one doubling on contrabassoon), une oeuvre en un seul mouvement. is a move towards exultation through 4 French horns, 4 trumpets, 4 trombones, repetition and emphasis, towards Comme son nom l’indique, il y est tuba, tympani and percussion, strings question de plaisir, et du plaisir. II fait imbalance through accumulation, and with every returning fragment of latency, référence aussi au livre Ubik de l’écrivain I had never written for an orchestra, but like a rest or an interstice, the machine de science-fiction Philip K Dick, dans of as far that I remember, I used to hear starts again. lequel il est question d’un monde qui se orchestras and dreamed of orchestras: désagrège peu à peu. imaginary orchestras, sea orchestras, I have long wondered which excerpts C’est une oeuvre névrosée et dérisoire. wind orchestras, crowd orchestras, (for these are excerpts) to assemble On tend à l’exultation par la répétition et machine orchestras... and orchestrate to build this movement l’insistance, on frôle le déséquilibre par from a symphonic «short story». I have l’accumulation, et à chaque petit bout de Music for me has always been a finally accepted that it would never be a latence qui revient, comme un repos ou rebellious art form – rebelling against satisfactory, on account of its length, or a comme un interstice, la machine repart. time, against the past, against extinction. «orderly» work. At the same time, it is subjected to Je me suis demandé longtemps quels time and duration, it accumulates, However, it has been a pleasant extraits (car il s’agit bien d’extraits) repeats, rebounds, amplifies, stacks, experience for me to extract from it a mettre ensemble et orchestrer pour then languishes and disappears. Music kind of allegro from a symphony, jerky bâtir ce mouvement de cette «nouvelle» is life; like life, it is filled with threats, of at first then made inevitable by its symphonique. J’ai fini par admettre separation or oblivion, just like love is obsessiveness. que ce ne serait jamais une oeuvre about the threat of loss, and enthusiasm, satisfaisante, de par sa durée, ni une The piece does not end, it merely goes GÉRARD HOURBETTE (1953) oeuvre «rangée». away. Cependant, j’ai eu du plaisir à en May the musicians and conductor Following classical music studies of dégager comme un allegro de please forgive me for those hundreds of violin and piano, he studied violin and symphonie, d’abord saccadé puis repetitive and cumulative bars of music musical improvement under Jacques inéluctable par son côté obsessionnel. which only have to do with pleasure in Dejean (Quatuor de I’ORTF) at the La pièce ne finit pas, elle s’éloigne. the orgasm, are only progressive in their Conservatoire du Xe arrondissement Veuillent les musiciens et leur chef me insistence and are only sliding in their in Paris. He enrolled in the Sorbonne pardonner ces centaines de mesures inexorability. And may Alain Robbe-Grillet (Paris IV) to study musicology, then in répétitives et cumulatives qui n’ont de forgive me for the shameless and entirely Lille-II to study psychology. But in 1971, plaisir que l’orgasme, de progressif opportunistic borrowing of the title of his succumbing to «the call of the sea», he que l’insistance et de glissant que film. joined Art Zoyd, which he now leads. l’inexorable. Et qu’Alain Robbe-Grillet Gérard Hourbette (1998) veuille bien me pardonner d’avoir si His career is closely linked with éhontément emprunté le titre de son that of the group, with which he film par pur opportunisme. has worked extensively on sound Gérard Hourbette (1998) structures making use of new musical technologies. His path is closely and fundamentally linked with that of Art Zoyd, of which he is the main composer and project manager. He has composed with Art Zoyd for, among others, the Orchestre National de Lille, Vienna’s Tonkünstler and the National orchestra of Mexico, for the Musiques Nouvelles ensemble, the Ars Nova ensemble. Under his own name, he has also made music for theatre, ballet (Karole Armitage), exhibitions (Picasso/Dora Maar...) or special events (Groupe F...). The piece does not end, it merely goes GÉRARD HOURBETTE (1953) away. May the musicians and conductor Following classical music studies of please forgive me for those hundreds of violin and piano, he studied violin and repetitive and cumulative bars of music musical improvement under Jacques which only have to do with pleasure in Dejean (Quatuor de I’ORTF) at the the orgasm, are only progressive in their Conservatoire du Xe arrondissement insistence and are only sliding in their in Paris. He enrolled in the Sorbonne inexorability. And may Alain Robbe-Grillet (Paris IV) to study musicology, then in forgive me for the shameless and entirely Lille-II to study psychology. But in 1971, opportunistic borrowing of the title of his succumbing to «the call of the sea», he film. joined Art Zoyd, which he now leads. Gérard Hourbette (1998) His career is closely linked with that of the group, with which he © Emmanuel Valette has worked extensively on sound structures making use of new musical technologies. His path is closely and fundamentally linked with that of Art Zoyd, of which he is the main composer and project manager. He has composed with Art Zoyd for, among others, the Orchestre National de Lille, Vienna’s Tonkünstler and the National orchestra of Mexico, for the Musiques Nouvelles ensemble, the Ars Nova ensemble. Under his own name, he has also made music for theatre, ballet (Karole Armitage), exhibitions (Picasso/Dora Maar...) or special events (Groupe F...). ART ZOYD «new music» (or «art rock» or «avant- 1993), Benjamin Christensen’s Häxan rock»). (Queen Elisabeth Hall, London-1995). Formed in 1969, Art Zoyd started out The success was unexpected. as a progressive rock band, influenced In 1983, the band came to the attention Nosferatu is still being performed, over by the music of Beefheart, Zappa, of renowned choreographer Roland fifteen years after its premiere, as were etc. The original line-up, led by multi- Petit when they appeared on TV. He Häxan and Faust until 2001 and 2003 instrumentalist Rocco Fernandez, promptly commissioned an entire respectively. recorded for Le Chant du Monde- ballet from them: Le Mariage du Ciel Opaline Records a debut single : et de l’Enfer, premiered at Milan’s La The ensemble has undertaken Sangria. After the arrival of Gérard Scala Festival. With Art Zoyd present on numerous tours in Europe, but also Hourbette and Thierry Zaboïtzeff in stage, the ballet was taken on tour for in the USA (Lincoln Center Festival, 1971, Art Zoyd took a different direction. thirty performances in France, including New York City), Hong-Kong, Australia From 1975, with the band’s founder twelve at the Théâtre des Champs- (Adelaide Festival), Japan (in 1997 now gone, they took over leadership Elysées in Paris. and 2002), Mexico (in 1996, 1999 and and radically changed its direction, With this came the revelation that 2003). Art Zoyd are also in demand for drawing new paths. From now on, there music that radical in its developments various events - the inauguration of would be no more drums or guitar, but and its options would appeal to a large, Stockholm’s Globe Arena - and also a four-piece ensemble consisting of heterogeneous audience, in spite of make music for theatre. two violins, bass, and trumpet, which them being largely unfamiliar with such would form the core of the band for dissonant harmonies and rhythmic In 1997, following the departure of several years. shocks of a new kind, mixing amplified Thierry Zaboïtzeff, a new major phase Art Zoyd toured with Magma acoustic instruments and electric in Art Zoyd’s orientation began. Art (1976), then became a member of instruments, tapes, voices… Zoyd opened their studios to outside the international collective formed creative artists and composers and by drummer Chris Cutler : Rock in There was now a desire to combine began a three-year partnership with Opposition, including among others music and visuals. An alliance of music the Orchestre National de Lille, initiating Fred Frith, Art Bears, Univers Zéro, with performance arts including dance the Dangerous Visions project which Stormy Six, Etron Fou Leloublan, and theatre, or with images, including brought together symphony orchestra, Zamlas Mammas Manna… Between silent movies or video. Art Zoyd then musical technologies and visuals. 1980 and 1984, Art Zoyd toured all over created film music, like F.W. Murnau’s Composers Luc Ferrari, Gérard Pape, Europe and became a leading light of Nosferatu (1988) and Faust (Rome - Thierry de Mey, Heiner Goebbels, Pierre «new music» (or «art rock» or «avant- 1993), Benjamin Christensen’s Häxan Vasseur, Helmut Oehring, Christophe rock»). (Queen Elisabeth Hall, London-1995). Maudot, Eric Sleichim, Granular The success was unexpected. Synthesis and Gérard Hourbette and In 1983, the band came to the attention Nosferatu is still being performed, over visual artists Granular Synthesis, dumb of renowned choreographer Roland fifteen years after its premiere, as were type, Michael Saup, Lydie Jean-Dit- Petit when they appeared on TV. He Häxan and Faust until 2001 and 2003 Pannel, Hagen Klennert, Geert Mul and promptly commissioned an entire respectively. Safy, all took part in these «adventures» ballet from them: Le Mariage du Ciel of a new kind. Over 20,000 spectators et de l’Enfer, premiered at Milan’s La The ensemble has undertaken attended these concerts (Lille, Créteil, Scala Festival. With Art Zoyd present on numerous tours in Europe, but also Maubeuge, St Pölten, Mexico). stage, the ballet was taken on tour for in the USA (Lincoln Center Festival, thirty performances in France, including New York City), Hong-Kong, Australia Beginning in 2000, Art Zoyd extended twelve at the Théâtre des Champs- (Adelaide Festival), Japan (in 1997 the venture and embarked on a new Elysées in Paris. and 2002), Mexico (in 1996, 1999 and long-term project entitled Expériences With this came the revelation that 2003). Art Zoyd are also in demand for de Vol, working with Belgian ensemble music that radical in its developments various events - the inauguration of Musiques Nouvelles to create the and its options would appeal to a large, Stockholm’s Globe Arena - and also Centre Transfrontalier de Production heterogeneous audience, in spite of make music for theatre. et Création Musicales, welcoming them being largely unfamiliar with such composers or artists in residence. The dissonant harmonies and rhythmic In 1997, following the departure of pieces (117 to date) are premiered shocks of a new kind, mixing amplified Thierry Zaboïtzeff, a new major phase on stage, then recorded in the studio. acoustic instruments and electric in Art Zoyd’s orientation began. Art With this centre the studio’s activities instruments, tapes, voices… Zoyd opened their studios to outside have extended to production, including creative artists and composers and assisting with various projects (support There was now a desire to combine began a three-year partnership with to creation, composition competitions, music and visuals. An alliance of music the Orchestre National de Lille, initiating training, training courses, projects with with performance arts including dance the Dangerous Visions project which amateurs). and theatre, or with images, including brought together symphony orchestra, In 2001, Art Zoyd premiered and silent movies or video. Art Zoyd then musical technologies and visuals. recorded Metropolis, based upon created film music, like F.W. Murnau’s Composers Luc Ferrari, Gérard Pape, the Fritz Lang film, for the new fully Nosferatu (1988) and Faust (Rome - Thierry de Mey, Heiner Goebbels, Pierre restored version. Metropolis is a kind of «meta music» based on the overlapping mixing Cécile Babiole’s computer- JEAN-CLAUDE CASADESUS of music by several composers: Gérard generated images and Vertov’s silent Hourbette, Patricia Dallio and Kasper T. movies, instruments of the present After over forty years heading the Toeplitz, the latter joining the group as and past including Theremin, ondes Orchestre National de Lille, which he associate composer. That same year, Martenot and Stroh violin. In 2008 Art had created in 1976, Jean-Claude Gérard Hourbette also composed the Zoyd premiered La chute de la Maison Casadesus, who remains its founding music for a choreography by Karole Usher, based upon Jean Epstein’s director, continues as such to conduct Armitage, Le Chat de Schrödinger, for film, at the Musée du Louvre in Paris. it in three series each season while the Ballet national de Nancy. Art Zoyd Then Kaïro, a spoken opera based on pursuing his international career. He now turned increasingly to research, Kiyoshi Kurosawa in 2009, from which remains artistic director of the Lille in particular on instrument-making Les Particules noires was extracted in Piano(s) Festival. and interfaces (sensors, theremin, 2010. 2011 saw both the premiere of The orchestra, under his leadership, real-time), involving composer Kasper a presentation for young audiences, has travelled the world (32 countries T. Toeplitz in the process as well as À demi endormi déjà, with Sébastien on 4 continents - the United States, various assistants and developers, Roux, a drawn musical tale on a text of Latin America, Black Africa, Russia, some of them from fellow studios and Célia Houdart and François Olislaeger’s China and Kazakhstan) and led an institutes. On the occasion of Lille 2004 drawings and Les Rives du futur, a exemplary policy of dissemination and – Capitale européenne de la culture, pyrotechnic concert with Le Groupe F. raising awareness towards children Art Zoyd premiered Armageddon, the 2012-2014: Trois Rêves non valides, a and audiences with little or no access first operetta for robots with roboticist multimedia presentation on three digital to music. Louis-Philippe Demers and Musiques stage designs by Serge Meyer, Christian A vocal advocate of contemporary Nouvelles. In 2006, a project with video Châtel and Pierrick Sorin, inspired by music (he studied orchestra conduction creation by Dominik Barbier, Le Champ Philip K. Dick’s works. with Pierre Boulez), he has set up des Larmes, saw the light of day. An 2015: Vampyr, a ciné-concert based on composer residences and since 2001 electronic oratorio, it consisted of music the film by Dreyer. has been the chairman of Musique by both Kasper T. Toeplitz and Gérard 2016: Le Voyage dans la Lune based on Nouvelle en Liberté. Hourbette. films by Méliès, De Chomon, etc. His discography of over thirty CDs with the Orchestre National de Lille In 2007, Art Zoyd premiered Eyecatcher has drawn unanimous praise by – L’homme à la caméra, a «drama listeners and critics alike. His latest fantasy» on the «former modernities», recordings, Richard Strauss’ A Hero’s mixing Cécile Babiole’s computer- JEAN-CLAUDE CASADESUS Life and Mahler’s 2nd Symphony generated images and Vertov’s silent (Resurrection), were both received with movies, instruments of the present After over forty years heading the great enthusiasm. They are followed and past including Theremin, ondes Orchestre National de Lille, which he by Mahler’s Song of the Earth and by a Martenot and Stroh violin. In 2008 Art had created in 1976, Jean-Claude collection of music by Henri Dutilleux, Zoyd premiered La chute de la Maison Casadesus, who remains its founding including Les Métaboles.... Usher, based upon Jean Epstein’s director, continues as such to conduct film, at the Musée du Louvre in Paris. it in three series each season while As guest conductor, he has performed Then Kaïro, a spoken opera based on pursuing his international career. He on major international stages - Kiyoshi Kurosawa in 2009, from which remains artistic director of the Lille Moscow, Singapore, Montréal, Les Particules noires was extracted in Piano(s) Festival. Baltimore, Seoul, São-Paulo and 2010. 2011 saw both the premiere of The orchestra, under his leadership, Buenos Aires, Philadelphia, Monte a presentation for young audiences, has travelled the world (32 countries Carlo and Berlin. Before participating, À demi endormi déjà, with Sébastien on 4 continents - the United States, alongside his master Pierre Dervaux, in Roux, a drawn musical tale on a text of Latin America, Black Africa, Russia, the creation of the Orchestre des Pays Célia Houdart and François Olislaeger’s China and Kazakhstan) and led an de la Loire, of which he was assistant drawings and Les Rives du futur, a exemplary policy of dissemination and director, he was hired early in his career pyrotechnic concert with Le Groupe F. raising awareness towards children as musical director for the Théâtre 2012-2014: Trois Rêves non valides, a and audiences with little or no access du Châtelet, and later appointed multimedia presentation on three digital to music. permanent conductor of the Opéra de stage designs by Serge Meyer, Christian A vocal advocate of contemporary Paris and the Opéra-Comique. His love Châtel and Pierrick Sorin, inspired by music (he studied orchestra conduction of opera led him to stage major opera Philip K. Dick’s works. with Pierre Boulez), he has set up productions for the Festival d’Aix-en- 2015: Vampyr, a ciné-concert based on composer residences and since 2001 Provence as well as in Orange, Paris, the film by Dreyer. has been the chairman of Musique Trieste, Monte-Carlo, the Opera of 2016: Le Voyage dans la Lune based on Nouvelle en Liberté. Flanders and of course the Opéra de films by Méliès, De Chomon, etc. His discography of over thirty CDs Lille (most memorably Jean-François with the Orchestre National de Lille Sivadier’s production of Carmen). has drawn unanimous praise by listeners and critics alike. His latest Passionate about the transmission of recordings, Richard Strauss’ A Hero’s knowledge, he enjoyed a three-year stint as conductor of the French Youth ORCHESTRE NATIONAL DE LILLE Orchestra, and more recently the Paris CNSMD’s youth orchestra at La Born of a shared desire by the Région Philharmonie. In 2016, he was asked to Nord-Pas de Calais, now Hauts-de- head the École Supérieure Musique et France, the French State and Jean- Danse of the Hauts-de-France region. Claude Casadesus, the Orchestre National de Lille gave its début He has authored two books, Le plus performance in January 1976, with court chemin d’un cœur à un autre Mstislav Rostropovich as soloist. Since (Stock, 1997) and La partition d’une vie this date, it been widely acknowledged (Écriture, 2012). as a referential orchestra, defending Jean-Claude Casadesus has received excellence as close as possible to multiple honours: commander of the audiences, with a willingness to Légion d’Honneur, Grand Officer of the «present music anywhere it can be Ordre national du Mérite, Commandeur received». des Arts et Lettres, Commandeur de l’Ordre d’Orange-Nassau, Officer of Every year, the orchestra appears at Belgium’s Order of Leopold, Knight of Lille’s Auditorium du Nouveau Siècle the Palmes académiques. In 2004, (fully renovated and unveiled in 2013), he was presented with a Victoire and at other venues in the region, d’Honneur at the Victoire de la Musique elsewhere in France and abroad. classique ceremony. Through its lifetime, it has musically irrigated over 250 towns in Hauts-de- This international season find him not France, in an exemplary approach to only in Lille, but also conducting the decentralisation. A true ambassador Orchestre national de France, the Monte of its region and French culture, it has Carlo, Saint-Petersburg and Bordeaux been invited to perform in over 30 Philharmonics, the New Japan countries on four continents. Philharmonic for 2 concerts in Tokyo and 2 in Hiroshima, then in Germany, in Staying true to its mission of Latvia and the Novosibirsk Festival. dissemination, the orchestra performs ORCHESTRE NATIONAL DE LILLE the great symphonic repertoire, as well as operas thanks to a regular Born of a shared desire by the Région collaboration with the Opéra de Lille, Nord-Pas de Calais, now Hauts-de- and music of our time, welcoming France, the French State and Jean- composers in residence. In each of Claude Casadesus, the Orchestre these areas of music, the orchestra National de Lille gave its début invites international conductors and performance in January 1976, with soloists, as well as young talents, Mstislav Rostropovich as soloist. Since to enliven the repertoire, which this date, it been widely acknowledged encompasses baroque, classical and as a referential orchestra, defending contemporary. At the same time, it excellence as close as possible to innovates with concert and event audiences, with a willingness to cycles aimed at new audiences : ciné- «present music anywhere it can be concerts, lunch time flash concerts, received». Famillissimo and «Lille Piano(s) Festival», founded on the occasion Every year, the orchestra appears at of Lille 2004 - Capitale européenne Lille’s Auditorium du Nouveau Siècle de la culture. In addition to concerts, (fully renovated and unveiled in 2013), the Orchestre National de Lille hosts and at other venues in the region, numerous events for a wide audience : elsewhere in France and abroad. preludes, meetings with soloists Through its lifetime, it has musically and conductors «on the edge of the irrigated over 250 towns in Hauts-de- stage», afters, public rehearsals... An France, in an exemplary approach to opportunity for friendly exchanges. decentralisation. A true ambassador of its region and French culture, it has Thanks to its unwavering commitment, been invited to perform in over 30 the orchestra places young audiences countries on four continents. at the centre of its project by developing a wide range of actions : musical Staying true to its mission of awakening in nursery schools, public dissemination, the orchestra performs rehearsals opened to schoolchildren, discovery concerts for primary and for Autumn 2017. middle schools, concerts for high schools and students, master classes In September 2016, Alexandre Bloch with musicians, participatory concerts... succeeded Jean-Claude Casadesus, conductor and founder of the Over the years, the orchestra has Orchestre national de Lille, of which he recorded over thirty critically acclaimed is now musical director. albums rewarded with numerous prizes (Grand Prix of the Académie Charles The Orchestre national de Lille is a Cros, Prize of the Académie du disque non-profit organisation subsidised français, Prize of the SACD, Nouvelle by the Conseil régional Hauts-de- Académie du Disque, Diapason France, the ministry of Culture and d’Or, Choc Classica 2015 …). Strong Communication, the Métropole partnerships with regional, national Européenne de Lille and the Lille City and cross-border media ensure regular council. press coverage as well as concert broadcasts which increase its audience. Recently, the orchestra, one of only two in the world to enjoy such a privilege, has acquired its own digital recording studio, which opens wide horizons in the fields of recording and distribution. Several new releases featuring the orchestra are scheduled for 2017: on the Naxos label, works by Henri Dutilleux conducted by Jean-Claude Casadesus and Darrell Ang, Offenbach/ Pierné conducted by Darrell Ang, Saint- Saëns conducted by Jün Märkl. On Warner, the début recital by trumpeter Lucienne Renaudin-Vary is scheduled