IN CONSTRUCTION

My compositions are based on three different but perfectly compatible centers of interest:

• mainly based on the paradox of composed improvisation, like Jimmy Durante Boulevard, for three improvising musicians and interactive setup [1986], Memories of Monk 2, an installation for saxophone, live video and computer assisted improvisation [2004-2006]; more generally, computer assisted composition, in real time or not. I am presently one of the main researchers for the Ircam OMax project (computer assisted improvisation going towards composed improvisation).

• Souvenirs et moments (2001) is based on pictures by Jean-Michel Albérola, inserted into the score. I also performed in several “cine-concerts” (live performance on films), especially on the early talkies of Alfred Hitchcock where we also played on the soundtrack. In several projects, a musician is confronted to his/her own image.

• Palmipèdes d’agrément for viola and spatialisateur (1992-93) is the first composition using the Ircam spatialisateur; Palmipèdes salins, for brass ensemble (1992), takes advantage of the particular acoustics of the salt factory conceived by Nicolas Ledoux in the eighteenth century. Fondation Beyeler: une empreinte sonore (2001) offered five simultaneous musical visits of Foundation Beyeler in Riehen, Switzerland, and was followed by a similar visit of the towers of the gothic cathedral in Reims (Champagne), France.

A piece like Palmipèdes corbuséens palmés (1995) combines the three centers of interest: a mezzo-soprano wanders into the strange acoustical space of a water tower built by Le Corbusier, and the building itself is put in resonance through an interactive sound sculpture. A piece with video, Peking Duck Soup (2008), combines a completely written part with an improvisation setup, where the video part (shot both in advance and in real-time) plays a tribute to the mirror scene of the almost homonymous Marx Brothers movie.

OMax-driven improvisations (2004-present) In addition to the compositions including OMax with video (Peking Duck Soup, Memories of Monk2), or without (like the most recent Duck Laughs), I have been performing with the laptop in many setups.

• With Vincent Le Quang (saxophone) with SOMax (Listening accompaniment program), on the Grid of GentleCat by Carine Bonefoy, for La Nuit de l’Improvisation France-Musique (French radio) at the CNSMDP, October 2012
• With Vincent Le Quang (saxophone) and Lazlo Fassang (organ) and a Sound system using the variable acoustics of the Budapest Palace of the Arts, April 2012
• With many different performers Médéric Colignon, Vincent Courtois, Cécile Daroux, Mark Dresser, Philippe Leclerc, Bernard Lubat…) in Strasbourg, Paris, Uzeste, Grenoble, Cali, Mannheim… 2004-2012
• With several setup (multi-tracks in double quintet with Carine Bonnefoy’s quintet, beat-dependent OMax) for La Nuit de l’Improvisation France-Musique (French radio) at the CNSMDP, October 2012
• With a group of Drama students of the Théâtre National de Strasbourg on texts by Beckett, 2006

4hoch3 (2002-2004) Improvisation group 4hoch3 (Inge Poffet, accordion/voice, Jopo, saxophone, Peter Kleindienst, guitar, Georges Bloch, voice). Tour in Switzerland, Germany, France.

Cage, Satie etc. (2001) With Michelle Renoul (piano), Jaap Blonk and Georges Bloch (voice). Performance of Satie’s Sports et divertissements and John Cage’s lecture Joyce, Duchamp, Satie: an Alphabet.