Stéphane de Gérando
Stéphane de Gérando (L'Hay-les-Roses, France, June 23, 1965), is a French composer, conductor, multimedia artist, and researcher.
Biography
Musical studies, international awards
Gérando was the top selected candidate for a composition curriculum at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP). He won the top prize for composition at the Paris Conservatory in 1993. He studied composition under Alain Bancquart, writing and analysis under Michel Philippot, orchestration under Gérard Grisey, musical computing under Tristan Murail, and electroacoustics under Guy Reibel and Laurent Cuniot. In 1994, Stéphane de Gérando was the top selected candidate for a Composition PhD at the CNSMDP where he took master classes with Pierre Boulez, Karlheinz Stockhausen, Franco Donatoni, Emmanuel Nunes, Henri Dutilleux. He won the International Award at the Contemporary Music Festival of Darmstadt (1994), « Prix de l’Association des Anciens Elèves et Elèves des Conservatoires Nationaux Supérieurs de Musique et d’Art Dramatique de Paris » (1991), the « Prix Académique de la SACEM » (1995), and was the laureate of the « Fondation Sasakawa » in 1993 and 1994.
Gérando was trained as an orchestra director at the Conservatoire National de Région de Paris by Claude Pichereau. He is also musical director of icarEnsemble and has recently recorded with the Philharmonic Orchestra of Radio-France.
Music
Stéphane de Gérando wrote several works for orchestras performed at Radio-France in Paris such as Puisqu’il en est ainsi for symphony orchestra and an 8 track magnetic tape, En toi, avec lui et en lui for four orchestra groups scattered around the public, Intumescence, commissioned by Radio-France and performed by the Philharmonic Orchestra of Radio-France coproduced by the INA-GRM. His latest works are Ce que tout cadavre devrait savoir ordered by the 2E2M ensemble and performed at the Pompidou Center in Paris, Du sens au sens for flute, performed by Pierre-Yves Artaud at the Contemporary Music Festival of Darmstadt, Katanga, for fifteen brass instruments and two percussions commissioned by Radio-France, 6ex1pen7sion4 commissioned by the French state, for ensemble and real time electronics performed in Paris by the 2E2M ensemble, L’opéra de glace commissioned by the French state, work for choir of teenagers, video and computer.
Multimedia works, museum installations, monumental screenings
His multimedia works have been exposed in contemporary art museums with outdoor and indoor monumental screenings. Among others Le circle de la sphère (actor and video), Timu (soprano, actor, video), Binaurale, Blue bird, Intumescence and CA – Creative Algorithm, a real time interactive process of creation of sound and image, presented at the « Festival de l’Innovation et de la Création 2007.
Research
While composing, his curriculum as a researcher started in 1991-92 by selecting further studies of musical computing at the IRCAM (Paris); this led him to be a consultant there. In 1993, following research on computerized sound models syntheses, Stéphane de Gérando defended his PhD thesis on 20th century Music and Musicology at the École des Hautes Etudes en Sciences Sociales associated with the E.N.S., the I.R.C.A.M. and the C.N.R.S., and subsequently obtained Doctorate in « Aesthetics, Science and Technology of the Arts » from the Université Paris VIII in 1996 (Contingency and procedural determinism applied to computerized sound synthesis and musical writing). The twenty some publications and the writing of a new thesis –Contemporary musical work in question – enabled him to obtain the habilitation to direct theses (Habilitation à Diriger les Recherches –HDR) in 2005. His work treats historical, aesthetic, pedagogical and institutional aspects linked to the notion of creation and of contemporary musical works on the one hand, and of modern technology on the other (algorithmic and synthesis control of sound and image aspects). Latest publication: L’oeuvre musicale contemporaine à l’épreuve du concept (2012).
Deanships, teachings, juries, research
Stéphane de Gérando was director of the École de Musique et de Danse de Vaucressson (1999), Pedagogical Director of a higher education center which prepares future territorial government officials for the Diplôme d’Etat (CEFDEMA, 2000–05) exam, President of the Institut International pour l’Innovation, la Création Artistique et la Recherche (3icar) (since 2005). He was also director of the CFMI, a department of the UFR Arts de l’Université de Strasbourg. Since 1998, he has been teaching composition, modern technology and programming, orchestration, history and analysis in the 20th century, history of cultural institutions, preparation for CNFPT interviews, research methodology, directing musical masters and undergraduate): IUT, CEFEDEM, CNSMDP. He also organized and participated in programs for returning students (CNFPT, CEFEDEM), preparing the Certificat d’Aptitude, and directed over forty theses. Since 2005, he has directed research internships with “grandes écoles” and French universities like Sciences Po, the École Nationale Supérieure d’Électronique, Informatique et Radiocommunication, Paris IV Sorbonne, the Université Télécom Lille 1, the Institut Supérieur Européen de Gestion, the Université Toulouse le Mirail, and the Université de Reims. As a member of the state orders commission of the Ministère de la Culture in 2008, he was invited to be a member of the jury for the Certificat d’Aptitude de Professeur de Musique, the Diplômes d’Etat, the CFNPT exams, and defenses of university theses. Stéphane de Gérando is also part of research laboratories such as LAPRIL and ARTES. He currently works with the computer and mathematics department of the Université de Strasbourg and participated in many international conferences on research.
Catalog of works
| Year | Title | Type of work | Duration |
|---|---|---|---|
| 1989 | Metathesis, for piano | solo | 12:00 |
| 1990 | Puisqu'il en est ainsi , for orchestra and tape | orchestra and electroacoustic | 30:15 |
| 1991 | Musique pour église, pécheur d'amour, le Christ et moi , sextet for flute in G, English horn, harp, vibraphone, sib clarinet, viola and imposed reverberation | 7 instruments | 12:00 |
| 1991 | Hommage à Bach , sib clarinet | solo | 00:59 |
| 1992 | En toi, avec lui et en lui , 52 soloists and chamber auditorium (four orchestra groups scattered around the public) | orchestra | 12:00 |
| 1993 | Virtualité et conscience du vide , for strings | 3 instruments | 15:00 |
| 1994 | Du sens au sens, for flute | solo | 17:00 |
| 1996 | Pièce pour cordes, for string orchestra | orchestra (strings) | 10:00 |
| 1996 | Ce que tout cadavre devrait savoir, for soprano, narrator, flute, clarinet, trumpet, cello, percussions and amplification system | 7 instruments | 15:00 |
| 1997 | Intumescence, for orchestra and tape | orchestra and electroacoustic | 15:00 |
| 1997 | Intumescence, for tape | electroacoustic | 07:00 |
| 1999 | Binaurale, for tape | electroacoustic | 10:00 |
| 2004 | Katanga, 15 brass instruments and two percussions | 18 instruments | 15:00 |
| 2006 | sixEXonePENsevenSIONfour, bass clarinet version | solo | 07:00 |
| 2006 | sixEXonePENsevenSIONfour - fragment 7 (rapid), percussion version | solo | 07:00 |
| 2006 | sixEXonePENsevenSIONfour, piccolo, double bass version | 2 instruments | 14:00 |
| 2006 | sixEXonePENsevenSIONfour, piccolo, trumpet version | 2 instruments | 12:00 |
| 2006 | sixEXonePENsevenSIONfour, piccolo, percussion version | 2 instruments | 09:00 |
| 2006 | sixEXonePENsevenSIONfour, double bass, percussion version | 2 instruments | 09:00 |
| 2006 | sixEXonePENsevenSIONfour , trumpet, percussion version | 2 instruments | 09:00 |
| 2006 | sixEXonePENsevenSIONfour, fl. piccolo, percussion version | 3 instruments | 15:00 |
| 2006 | sixEXonePENsevenSIONfour, fl. piccolo, trumpet double bass version | 3 instruments and | 15:00 |
| 2006 | sixEXonePENsevenSIONfour - fragments 7, 4, Piccolo, trumpet, keyboard (with computer) version | 3 instruments and electroacoustic | 12:00 |
| 2006 | sixEXonePENsevenSIONfour - fragments 6, 1, 7, bass clarinet, percussion, keyboard (with computer) version | 3 instruments and electroacoustic | 12:00 |
| 2006 | sixEXonePENsevenSIONfour - fragments 6, 1, 7, 4, piccolo, clarinets (sib and bass), keyboard (computer) version | 3 instruments and electroacoustic | 15:00 |
| 2006 | sixEXonePENsevenSIONfour - fragments 6, 1, 7, piccolo, trumpet, percussion (with computer) version | 3 instruments and electroacoustic | 12:00 |
| 2006 | sixEXonePENsevenSIONfour, fl. piccolo, clarinet, double bass, percussion version | 4 instruments | 15:00 |
| 2006 | sixEXonePENsevenSIONfour, flute, trumpet, double bass, percussions, keyboard (real time electronic possible) | 5 instruments and electroacoustic | 18:00 |
| 2007 | sixEXonePENsevenSIONfour, piccolo version | solo | 07:00 |
| 2007 | sixEXonePENsevenSIONfour - fragment 1 (rapid), sib clarinet version | solo | 03:00 |
| 2007 | sixEXonePENsevenSIONfour - fragment 4 (rapid), bass clarinet version | solo | 05:00 |
| 2007 | sixEXonePENsevenSIONfour - fragment 7 (rapid), trumpet version | solo | 07:00 |
| 2007 | sixEXonePENsevenSIONfour, bass clarinet with real time electronics version | solo and electroacoustic | 07:00 |
| 2007 | sixEXonePENsevenSIONfour, piccolo with real time electronics version | solo and electroacoustic | 07:00 |
| 2007 | sixEXonePENsevenSIONfour, piccolo, keyboard (computer) version | 2 instruments and electroacoustic | 09:00 max. |
| 2007 | sixEXonePENsevenSIONfour, trumpet, keyboard (computer) version | 2 instruments and electroacoustis | 09:00 max. |
| 2007 | CA, Creative Algorithm, real time | video | indéterminée |
| 2008 | sixEXonePENsevenSIONfour, piccolo, bass clarinet version | 2 instruments | 12:00 |
| 2008 | sixEXonePENsevenSIONfour, piccolo, bass real time electronic version | 2 instruments and electroacoustic | 15:00 |
| 2008 | Virtualité et conscience du vide, violon version | solo | 05:00 |
| 2008 | Virtualité et conscience du vide, version cello (rapid) | solo | 02:00 |
| 2008 | L'opéra de glace, chorus of teenagers, tape and video | chorus, electroacoustic, video | 02:00 |
| 2009 | Intumescence, | video | 08:00 |
| 2010 | Blue bird, (first version 2007) | video | 10:00 |
| 2010 | Binaurale – fragment 1 - space points, real time video (first version 2007) | video | 05:56 |
| 2010 | Binaurale – fragment 2 - round space (first version 2007), real time video | video | 06:15 |
| 2010... | The labyrinth of time, cycle multimedia | instruments, computers, video | A déterminer |
CD and DVD
- Dialogues imaginaires, Mfa, Radio-France, 3icar, Inactuelles Tschann Paris, 2010 (CD with a book de Gérando)
- Journées de la composition 1994, En toi avec lui et en lui, pour quatre groupes d'orchestre, Cnsmdp Sacem, 1994.
- L'opéra de glace, pour chœur d'adolescents, vidéo et ordinateur, icarEditions, 2008.
Books
- L’œuvre contemporaine à l’épreuve du concept, préface de Paul Méfano, postface de Jean-Yves Bosseur, Paris, L'Harmattan, 2012, 227 p.
- Imaginary dialogues. Experiencing contemporary creation and research, Paris, Inactuelles, 2010, 300 p. – version anglaise Julien Elis. CD with Radio-France, MFA, 3icar – icarEnsemble, Inactuelles, 2010.
- Dialogues imaginaires. Une expérience de la création contemporaine et de la recherche, Paris, Inactuelles, 2010, 300 p. Ouvrage accompagné d’un disque monographique, en collaboration avec Radio-France, MFA, 3icar – icarEnsemble, Inactuelles, 2010.
- Trajectoire oblique, 3icar icarEditions, 2006, 150 p.
- Contingence et déterminisme procédural appliqués à la synthèse sonore informatique et l'écriture musicale, Villeneuve d’Ascq, Septentrion - Presses Universitaires, 1998, 470 p.
Articles
- « L’acte de créer ou retarder la mort. D’après un entretien avec Alain Bancquart », Education musicale n°576, Vernon, L’Education Musicale, 2012, 7 p.
- Stéphane de Gérando Stéphane / Gilles Baroin, « Sons et représentation visuelle en hyperespace : l’hypersphère des spectres », Les Cahiers de l’Institut International pour l’Innovation, la Création Artistique et la Recherche, Paris, 3icar /icarEditions, 2012, 15 p.
- « Presence and absence of creation », The 3icar journal, Paris, 3icar /icarEditions, 2012, 18 p.
- Stéphane de Gérando – IDEAT CNRS / Athanase Papadopoulos – IRMA CNRS UDS, « Introduction à l’art topologique. Concepts mathématiques et création musicale ou poly-art », Les Cahiers de l’Institut International pour l’Innovation, la Création Artistique et la Recherche, Paris, 3icar /icarEditions, 2011, 13 p.
- « CA – Creative Algorithm – œuvre virtuelle interactive temps réel» , Bordeaux, 3icar IcarÉditions, 2007 – 2e édition 2010, 10 p.
- « Non répétition et œuvre musicale contemporaine. À partir de l’œuvre pour piano d’Arnold Schoenberg »,Vernon, Education musicale n°507/508, 2006, 10 p.
- « La notion d’apogée dans Lemme-Icône-Epigramme de Brian Ferneyhough », L’apogée – Cahiers du Laboratoire Pluridisciplinaire de Recherches sur l’Imaginaire appliquées à la Littérature (L.A.P.R.I.L.), Bordeaux, Eidôlon, 2005, 18 p.
- « Création musicale, recherche, nouvelles technologies numériques et institution », Les cahiers d’ARTES, Bordeaux, CAPCB, 2005, 8 p.
- « La notion de frontière dans l'œuvre musicale après 1945 : réalité ou utopie? - Exemples d' Ikhoor de Iannis Xenakis, d' Anahit de Giacinto Scelsi et de 4'33’’ de John Cage », Frontières et seuils – Cahiers du Laboratoire Pluridisciplinaire de Recherches sur l’Imaginaire appliquées à la Littérature (L.A.P.R.I.L.), Bordeaux, Eidôlon, 2004, 15 p.
- « À propos de l’œuvre pour bande seule et de l’écriture musicale de Jean-Claude Risset » (1), Education musicale n°507/508, Vernon, L’Education Musicale, 2003, 4 p.
- « À propos de l’œuvre pour bande seule et de l’écriture musicale de Jean-Claude Risset » (2), Education musicale n°509/510, Vernon, L’Education Musicale, 2004, 4 p.
- «Virtualité du son et écriture musicale : pour une création algorithmique du timbre », Analyse Musicale n°48, Paris, ADAM, 2003, 15 p.
- « Modèles de synthèse sonore informatique - Présentation des techniques de synthèse numérique et introduction à une esthétique du timbre synthétique », Analyse Musicale n°47, Paris, ADAM, 2003, 13 p.
- « Présence du répertoire populaire dans la musique occidentale savante - Points de repère concernant la période contemporaine », Education musicale n°499, Education musicale, Vernon, L’Éducation Musicale, 2003, 6 p.
- « Quatre variations sur une mort annoncée - Penser l'existence de l'opéra contemporain après 1978 », Analyse musicale n°46, Paris, ADAM, 2003, 10 p.
- « Se séparer pour découvrir un imaginaire – L’expérience d’une écriture musicale » , Imaginaire et inconscient n°8, revue d’études psychothérapeutiques, Bègles, L’Esprit du Temps - Presses Universitaires de France, 2002, 6 p.
- Dictionnaire de la Musique et de la Danse, Paris, Larousse – Bordas, 1999, 10 p.
External links
- Site de Gérando : scores, articles and works, virtual paintings...
- Editor L'harmattan
- Site de 3icar - icarEditions
- RADIO-FRANCE
- IRCAM
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