Stéphane de Gérando (born June 23, 1965) is a French composer, conductor, multimedia artist, and researcher.
Biography Stéphane de Gérando was born in L'Haÿ-les-Roses in France into a family with historical ties to France and Hungary. He studied classical music from the age of 7 in France (conservatories of Saint-Brieuc, Rennes, Paris). At the Conservatoire national supérieur de musique de paris, he was the pupil of Alain Bancquart in composition, Michel Philippot in analysis, Gérard Grisey in orchestration, Guy Reibel and Laurent Cuniot in electroacoustics, Tristan Murail in computer music and Philippe Manoury (IRCAM). In the third cycle, he follows the master classes of Pierre Boulez, Karlheinz Stockhausen, Franco Donatoni, Emmanuel Nunes, Henri Dutilleux. In the field of research, his research dissertations are directed by Hugues Dufourt (DEA), Ivanka Stoïanova and Horacio Vaggione (PhD, Contingence et déterminisme procedural appliqués à la synthèse sonore informatique et l'écriture musicale (ISBN 2-284-00761-9), Pierre Abert Castanet (in French "Habitation à diriger les recherches", La création musicale en question, 2 volumes, 800 pages, published under the name of L'oeuvre musicale contemporaine à l'épreuve du concept, ISBN 978-2-296-56283-7).
Gérando was pedagogical director of a higher education centre (CEFEDEM Aquitaine became PESMD Bordeaux Nouvelle-Aquitaine) which prepares future territorial officials for the Diplôme d'Etat in France (2000–2005), president of the International Institute for Innovation, Artistic Creation and Research since 2006. He was also director of the training centre for intervening musicians (CFMI 2009–2011), arts department of the UFR of the University of Strasbourg. Since 1998, he has taught composition, real-time images and algorithmic sound creation (Paris).
Music His catalogue includes more than 90 works, from the instrument alone to the orchestra with or without electronics such as Puisque il est ainsi for symphony orchestra and magnetic tape, first performed by the Paris Conservatory Orchestra under the direction of Mark Foster at the Maison de la radio in Paris (1990); En toi avec lui et en lui, for four orchestral groups around the audience, creation at Radio-France's Studio 104 festival Présences 92, Du sens au sens pour flûte, created by Pierre-Yves Artaud at the Darmstadt International Festival (1994); Ce que tout cadavre devrait savoir for five instrumentalists, narrator and voice, premiered by the Ensemble 2e2m at the Centre Pompidou in Paris (1996); Intumescence for instrumental ensemble and band, premiered by the Orchestre philharmonique de Radio France at the Presences festival (1996); Katanga commissioned by Radio-France pour les cuivres et percussions de l'Orchestre Philharmonique (2004) work recorded under the direction of the composer, 6ex1pen7sion4, commission d'État pour ensemble et électronique en temps réel, first performed by l'Ensemble 2e2m in Paris (2006), or another more recent example, Lycromorphie, a violin, cello and piano trio created at Radio-France in Paris.
Gerando won the Stipendienpreis of Ferienkurse für Internationale Neue Musik Darmstadt 1994 (Germany), the Prize of the Association of Alumni and Students of the Conservatoires Nationaux Supérieurs de Musique et d'Art Dramatique de Paris (1991), the SACEM Academic Prize (1995), and was a laureate of the Sasakawa Foundation in 1993 and 1994.
Polyartistic and technological creations
Since 2007, Gerando has mainly devoted himself to the Labyrinth of Time, a multi-support work at the same time polyartistic and technological, museum installations, digital art, video mapping, interactive visual and sound installations, sculptures with 3D projection, instrumental and vocal creations with real-time electronics, poetry-dance-theatre writing.
Among the last pieces belonging to the Labyrinth of Time are: The circle of the sphere for actor and video (2012); The strange passage of the senses for theatre, contemporary dance, percussions, video, virtual paintings, cello, horn, real-time electronics and electroacoustics (2015); Completion for instrumental ensemble with variable number, with body, text and musical score, real-time electronics, video and computer (2019); Vertical Memory electroacoustic cycle with the voices of Virginia Guidi, Nicholas Isherwood and Emmanuel Meyer (2022). With the support of France, one of the last monumental international screenings of the Labyrinth is on the Azadi Tower of Tehran, on July 19, 2018 .
Research
Books, articles, dictionary, collaborations with scientists such as , Athanase Papadopoulos, Christophe Mourougane (mathematicians), Jérôme Pétri (astrophysicist), Louis Bigo (computer scientist), Gille Baroin (engineering doctor), Gérando's research deals with theoretical and technological issues (world premieres – modulo 24 homometric sets, series all intervals in an octave and zigzag, series all intervals nested in a micro-intervallic series, model of spectral representation in four dimensions etc.) and on the other hand, historical, aesthetic, educational and institutional issues related to the notion of creation.
Gérando speaks publicly on other topics, such as ethical issues as on the occasion of Alain Bancquart's eightieth birthday at the Centre de la musique contemporaine (CDMC) in Paris on November 6, 2014, speech published on the front page of the newspaper Médiapart on November 8, 2014, or other example in 2016, in the context of relations between France and Morocco on «the art of entrepreneurship» at the Institut Français d'Agadir.Chambre de Commerce, d’Industrie et de Services d’Agadir
Catalog of works (extracts) + Catalog of works – 3icar / icarEditionsYearTitleType of workDuration 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 electroacoustics 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, polyartistic and technological, real-time image and sound algorithmic creation instruments, computers, theater, dance, music, video, installation, performance, mapping indeterminate
CD and DVD
Verticale Mémoire (14 titles), cycle électroacoustique du Labyrinthe du temps, avec Virginia Guidi, Nicholas Isherwood, Emmanuel Meyer, ACEL, Centre National de la Musique, Maison de la Musique Contemporaine, Institut International pour l’Innovation, la Création Artistique et la Recherche, 2022 (La mique, Horizon chaotique, Day of dead, Fluid eternit,y Issons des traces, Homometric attractor 2, Hyalite brun, Pistill recomposé, Trace en Ison, My name is, Fragments labyrinthiques, Théâtre du labyrinthe, Macrobiotique point zéro, Algorithmique Grand Cycle) Electroacoustic 1 (7 titles), UPC EAN 198003576506, 2022 (Stellar Wave, Homometric Attractor 1, Boréal cendré, Le chant du labyrinthe, Le porte dell'inferno, Intumespeed, Atomic Space) Meta-instrument 1 (13 titles), UPC EAN 198003568464, 2022 (Sollar Wave, Le chant des Stismi, Bruissement cosmique, Cathédrale des temps, Introït, Planète flottante, Intumescence, Ison, Pusle, Spiralis, Tempus Est, Titan) Dialogues Imaginaires (7 titles) Tschan – Inactuelles, (Katanga, 15 cuivres et deux percussions, ensemble de l’orchestre philharmonique de Radio-France, direction Stéphane de Gérando, 6ex1pen7sion4 IV, clarinette basse et électronique temps réel, Aurélien Cescousse clarinette, 6ex1pen7sion4 II, flûte piccolo et électronique temps réel, Gilles Burgos flûte, Intumescence, 15 instruments et bande, Orchestre Philharmonique de Radio-France, direction Tsung Yeh, Virtualité et conscience du vide, Trio à cordes, Sona Kochafian, Pascal Robault, Pierre Strauss, Binaurale, étude électronique, 6ex1pen7sion4 III, flûte clarinette et ordinateur, Aurélien Cescousse clarinette, Gilles Burgos flûte, icarStudio, Du sens au sens, pour flûte, Pierre-Yves Artaud flûte) L’opéra de glace, DVD, Bordeaux Aquitaine, direction Stéphane de Gérando, 3icar icarEdition