Conducting

Since 1997, a virus, a passion, a questioning, a window into another world. Since 2023, a center of gravity and an inexhaustible source of learning.

Les forces majeures

“Great chamber music, on a larger scale”: a pleasant oxymoron that sounds like an ideal, where numbers don’t hinder freedom of play. Interplay, as theorized by pianist Bill Evans, who spoke of improvising together in a relationship of interactivity — and therefore interdependence — served as a guide for the creation of this orchestra, which produced spectacular results from its very first encounter: made up of professional quartet players (members of the Ebène, Belcea, Voce, Varèse, Zaïde, Hanson quartets, among others) and a leading wind quintet (Aquilon), the chamber musician’s reflex — transmitter-receiver, never a follower, never a leader, but always a co-producer — worked wonders. Later on, the other miracle of this adventure revealed itself during the first major bike tours, where the grueling work of carrying symphonic music as a small team into remote areas and for unusual audiences gave us the best possible feedback: a breath of discovery, made euphoric by the kilometers covered together between each concert. Today the ensemble specializes in versatility: the programs combine classical, new creations, and jazz, and the musicians and staff of Forces Majeures are far from done exploring and delivering all their facets.

ORCHESTRE DE CHAMBRE
NOUVELLE-AQUITAINE

After a quarter of a century under the direction of pianist J-F Heisser, l’OCNA has become a vessel of fraternity, a generous team determined to carry out a very broad mission. Here, excellence is heard on stage and measured by the reach of the tours undertaken; the territory of Nouvelle-Aquitaine, as large as Austria—based out of TAP de Poitiers—hosts large-scale concerts that give pride of place to new creations and novelty, and bring extensive experience in cultural outreach. From the very first meeting, the joy of pushing each other to excel together in the work was palpable, and reward came in listening to the schoolchildren of Marennes-Oléron singing the theme of the Variations Rococo with delightful lyrics, before the very first concert. How could one resist such a wave of shared beauty? All along the Atlantic coast and across the lands of Poitou, Limousin, and Bordeaux, a new chapter begins.

ORCHESTRE DE CHAMBRE
DE GENÈVE

At the head of l’OCG, the goal is above all to offer a journey through the city, to act at the heart of the community, instilling in it a passion and a taste for moving between the arts. The stimulus of every moment — not a week goes by without a new production — stems from the challenges of programming: l’OCG cannot afford to repeat itself, it must carry its subscribers and an increasingly diverse audience along an enriching path, with anticipation and variety. Each of the 37 titular members of l’OCG is fully aware of the privilege that is theirs, which comes through in the consistency and relevance of the programs and the intensity of the playing. Geneva is moving and growing, the Orchestra goes beyond its preferred repertoire, but also knows how to return to its source, the “Mozart” size of the Orchestra, the birthplace of the orchestra of the French Revolution that freed itself from the continuo, where every voice carries equal weight: in a way, it is the direct cousin of the string quartet, the musical cradle of modern society.

UPCOMING INVITATIONS

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Conducting is an extraordinary practice, one that has generated a great deal of discussion and remains a great open question. Conductors direct, lead, drive, unite, convince, defend, and inspire. They approach, confront, provoke, expose themselves, take responsibility, correct themselves, and persevere. It is an intense profession, one whose full-time practice can be discouraging, or become indispensable: from this role of mediator, one acts only to create the best possible space of expression for others — and alone, one does nothing.

Collaborations between conductors and orchestras are sometimes one-off, sometimes sustained over decades. The bonds that form find in the musical act a kind of summit of communication. The audience, its experience, and whatever feedback it may give, are a result that is quite complex to analyze and demonstrate. The spark always bursts forth somewhere, in the end. But where? When? Why? Words are imprecise, and music, which is above all the art of time, has already slipped away from this reflection, carrying its phenomena toward a future (or an elsewhere) that cannot be held onto.

Playing

Instrumental music is a game, like theater, like all the performing arts. One plays, embodies, transforms, punctuates, sculpts, projects, compares, invites, invents, insists, fails, defends, seduces, shares. The 21 years spent within the Quatuor Ebène were the finest school of playing, as much as a school of life.

Daily life with the instrument, in the closest proximity to other subjectivities, is part of a hungry and ambitious drive to capture the beauty of this fascinating repertoire, and above all to bring it to balance and to its most powerful expression, despite the extreme fragility of this organism (four instances of the same instrument, with no preset agreement, a nightmare where moving from a sketch to a finished product can take months of grueling work just to agree on bowings or a coherent intonation).

The life of a cellist — and sometimes as a pianist or with unexpected instruments that, practiced for pleasure, are a great lesson — allows one to meet life partners, models of inspiration, mirrors that reveal what one does not believe oneself to be familiar with. Playing is also the word, the exaggeration of a thought that only takes shape in sound: “what cannot be said and what cannot be silenced, only music expresses it” (V. Hugo). The personalities of Nicolas Altstaedt (the concerto, the concerts with Ebène), of Pierre Fouchenneret, of Simon Zaoui (the complete Fauré), met during studies when one still knows so little of oneself, open the doors to a multitude of projects characterized by a genuine maturation, beyond any notion of value, resulting from a germination in which work and friendship continually interact. Opening the range of encounters, sparks pass from one ear to another. Messengers of music appear at the opposite ends of the earth, and one day one is surprised to meet them in the flesh: the long nights of improvisation with Kevin Seddiki invite one to arrange and write, the long and delightful years of jazz Quartett with Julien Soro lead to the discovery, in 1998, of Brad Mehldau, the concerts and studio sessions with Arnaud Thorette & Johan Farjot ripple out to the voice of Karine Deshayes. And then, the concert adventures with Leo Warynski and Kanako Abe.
Let us thank here Colette Combourieu, Lionel Michel, Liliane Wagner, Igor Kiritchenko, Élisabeth Besnard, Alain Crossa Rossa, Xavier Gagnepain, Hortense Cartier-Bresson, Philippe Muller, and many other mentors, teachers, and stage partners.

Writing

[Composing]: to put into sound dreams that are also inheritances.
[Arranging]: to bring elements of one’s own creativity to existing works. In either case, to write is to hear, and it is to transform.

“IF COMPOSING
IS TRANSFORMING,
INTERPRETING
IS COMPARING”

[X. GAGNEPAIN]

Reading music makes it possible to feel and hear (in the sense of understand) the inner workings of composition. Improvisation plays a very large part in this stimulation of the ear: it started with a Bartok duo to which one tries to add a 3rd voice, then naive attempts at composition, then a few rudiments of harmony and counterpoint, then theory classes and the discovery of analysis, then the deep dive of the string quartet, which imposes balance and demands the essential. From arrangements dashed onto paper in the enthusiasm of early concerts to offer unusual concert encores, through jazz or pop themes whose arrangements are entirely oral, one receives a first commission from Christoph Altstaedt, and then, in the intoxication of this trust and of a legitimacy still improbable, the most beloved sources come knocking at the eardrum: as H. Dutilleux explains, when starting out it is better to write in the style of the old masters than to force oneself to open new paths, often leading nowhere. From this opus 1, whose maturation took more than 3 years, followed some fifteen works, all while the activity of arranging became very regular. Increasingly frequent collaborations with composers of our time widen the jungle of possibilities. The appointment as artist-in-residence of the Fondation Singer-Polignac extends these precious threads of inspiration. At the same time, the adventures of Forces Majeures, with formations suited to touring, throw wide open the doors of rewriting.

Mentoring

We learn by receiving, and we learn again afterward by passing it on. The search for a coherent vocabulary, and the need to adapt it to each group of students, gradually alters the meaning and invites subtexts, beyond expectation.

Teaching cello at the CRR de Boulogne-Billancourt gives way to chamber music: after several years of seminars at the CNSMDP, which notably saw the birth of the quatuors Arod and Hanson, the turning point of the Covid-19 pandemic opened 5 years of teaching at the Hochschule de Munich in partnership with the Quatuor Ebène, which made it possible to guide many talented young quartets toward international competitions (Bordeaux, Munich, Geneva) (Hana/, Barbican, Arete, Elmire, Magenta…)
A new page opens at the Haute École de Lausanne within which a dynamic of expanding ensemble practices toward other departments (early music, jazz and improvised music) enriches the training of young artists engaged with today’s challenges.
The various one-off teaching experiences, such as in Los Angeles, Paris, Freiburg, Stuttgart, lead to encounters, and to weaving a solid, yearly bond, with the Écoles D’art Américaines de Fontainebleau, where the legacy of Nadia Boulanger ideally intersects the angles of creation and interpretation. The fundamental stakes of school-orchestra projects such as Ostinato, the CMGO, Music’ensemble, further extend the pedagogical reach from the podium. Les Forces Majeures has notably welcomed the collège Rognoni and numerous student and amateur choirs invited along tour routes, blending encounter, pedagogy, and pre-professional experience.
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