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Philippe Schoeller |
éditions musicales européennes | ||||||||||||||||||||||||||||||||||
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Philippe Schoeller is born in France in 1957. To a traditional classical music training (piano with J.-C. Henriot, choir-singing with J. von Websky's Bach Choir, harmony and counterpoint with B. Berstel, conducting with G. Dervaux, analysis with R. Piencikowski), he added a B.A. in Musicology and the first part of Ph. D. in Philosophy of the Arts, Paris-Sorbonne).
In the 80s and 90s, he won prizes at the Antidogma (Torino 1984) and H. Dutilleux (Tours 1990) International Composition Competitions, and attended courses with P. Boulez at the Collège de France and I. Xenakis at the Ecole des Hautes Etudes as well as F. Donatoni's master-classes at the Paris CNSM. He also attented the Ircam (Paris) computer and music workshop before doing extensive research on Sound Synthesis, in order to create a new type of instrument-making, a numerical instrument-making, with the tools at his disposal. His research was literally brought into play in two of his major scores: "Feuillages" (1991-92) and his recent oratorio for mixed choir, orchestral ensemble and computer "Vertigo Apocalypsis" (1996-97).
Philippe Schoeller has also given numerous lectures (Ecole des Beaux-Arts in Angers, Ecole Polytechnique Fédérale in Lausanne, Ecole Nationale Supérieure du Paysage in Versailles, Ecole Centrale d'Ingénieurs in Massy-Palaiseau ...) and taught analysis and composition at the Lyon CNSM.
He is also awarded by the Fondation du Crédit National.
Commissionned by : Festival d'Angers, Festival d'Orléans, Ensemble Intercontemporain, Festival d'Art Sacré, the French state, Ircam, Association des Amis du Centre G. Pompidou, Centre d'Ecriture à la Chartreuse in Villeneuve-lez-Avignon, Festival Ars Musica (Brussels), Choir of the Südwestdeutscher Rundfunk in Stuttgart.
Grand Prix Paul Gilson 2001 awarded for Cinq Totems (broadcasted in Alla breve by David Herschel, France Musiques)
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To be sure, a composer's duty is to be a witness, like a medium, to be part of his time and age, but his principal duty is to achieve his creative and spiritual life by taking upon himself the various elements which, coming from this or that age, aspire to project themselves in, or resonate with, the creative life of other times ; times past or times to come. In this future does his here-and-now crystallise in an artistic gesture, a gift to others. But let us not delude ourselves, composing is basically a cannibalistic act, in the noblest acceptation of the word, i.e. : to take the life that is, the life that was. Which means understanding what of Stravinsky is present in Rimsky-Korsakov, but also what of Debussy may lie in Wagner or of Beethoven in Weber, and extract from these veins - sort of timeless abstract principles - what will fertilize the soil of his own imagination, here and now.
Philippe Schoeller
"(...) Schoeller is a real musician, who can orchestrate with a light hand and makes a large ensemble sound like Debussy himself."
Anne Rey, Le Monde, july 93
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Iris, orchestra, 1988 (commissionned by the 6. Angers Festival )
S, ensemble, 1985-89 (Ensemble Intercontemporain, cond. P. Eötvös)
Sonnet, 10 or 2x10 guitars and electronic set, 1990
Le Ciel, Prélude, brass septet and perc., 1990 (commissionned by E.I.C.)
Wasser, orchestra and speaker - libretto by J.-L. Parant, 1993 (commissionned by the Centre d'Ecriture Chartreuse Villeneuve-lez-Avignon)
Winterdance, chamber symphony, 1994 (commissionned by Festival Ars Musica - Bruxelles)
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Beatitudines - musiques
françaises du XXe siècle
Mikrokosmos - chamber
choir, cond. Loïc Pierre
Le Jardinier
d'amour
for choir a cappella (Rabindranath Tagore cycle)
CD JADE 301 609-2
Voix intérieures
- ensemble Alternance
CD 3D Classics 8033
Dialogues (first world
recording)
Pascal Gallois (bassoon)
CD Stradivarius 33625
Vertigo
Apocalypsis (Eic, Südfunk-Chor
Stuttgart, cond. A. Manson) - extract
ircam, les années 90 - disc #3
