Every day, for every concert, a composer has to produce his name card : the curriculum vitae.
It seems to me that this passive list is absurd, but one’s imagination can take profit of it.
That’s why here following you’ll find the biographies I’ve invented : those are maybe the mirror of my real personality…
C.V. (1)
Born on, without any reason, in,
Short name, to be more efficient
Maybe not so different from the other,
and
starting from that, he writes music to be played whenever someone wants to,
and people don’t want it very often,
cause
and if
I start to keep on saying what I’ve just said, that is, that there is nothing to say, if not,
Keep on saying to be understood (one believes !)
so,
beeing born, there, here, or not there, or somewhere else,
french or not,
Happy or not
then...
You’ll listen, and you’ll understand that my CV
Is really that and not another one
Born in Taguarre
In Egypt
on 12 03 1928
Married once to Antoinette Mercier
And twice to Elise Cadurff
He studies in London with Britten, then in Paris with André Salvatore
Travels a lot
Writes very little
Short name, to be more efficient
Maybe not so different from the other,
and
starting from that, he writes music to be played whenever someone wants to,
and people don’t want it very often,
cause
and if
I start to keep on saying what I’ve just said, that is, that there is nothing to say, if not,
Keep on saying to be understood (one believes !)
so,
beeing born, there, here, or not there, or somewhere else,
french or not,
Happy or not
then...
You’ll listen, and you’ll understand that my CV
Is really that and not another one
Born in Taguarre
In Egypt
on 12 03 1928
Married once to Antoinette Mercier
And twice to Elise Cadurff
He studies in London with Britten, then in Paris with André Salvatore
Travels a lot
Writes very little
C.V. (2)
I wasn’t born in ... Why?
I haven’t worked with… Why ?
I don’t write spectral music…Why ?
I didn’t get any commission from the Berliner Philharmonic…Why ?
It is not a new work that we hear for a premiere. That’s the echo of what it is. Why ?
All administrative informations, only inform the bureaucracy, not the audience.
A curriculum vitae is only a question : why ?
Why does music is written, why this choice, why reacting physically
To the listening of music,
Why are we here ?
I haven’t worked with… Why ?
I don’t write spectral music…Why ?
I didn’t get any commission from the Berliner Philharmonic…Why ?
It is not a new work that we hear for a premiere. That’s the echo of what it is. Why ?
All administrative informations, only inform the bureaucracy, not the audience.
A curriculum vitae is only a question : why ?
Why does music is written, why this choice, why reacting physically
To the listening of music,
Why are we here ?
C.V. (3)
After « classical » music studies, from the Paris Conservatory to the Musikhochschule in Koln with Mauricio Kagel, Marc Monnet is a composer difficult to define.
Definitely contemporary, always inventing, he goes from the instrumental « classic » writing, to the most innovating research for an opera, which only preserves its name. He passes through the sound exploitation proposed by electronics, up to the transformations realised at the IRCAM (Paris) for his last opera Fragments. He has worked together with Jean Louis Barrault for the music of his opening show at the Theatre du Rond Point in Paris ; with Dominique Bagouet who used his music and title « Fantasia Semplice » for his ballet premiered at the Opera de Paris (Garnier) ; with Karin Saporta for the music of a film for the Musée d’Orsay « Le Cirque » (the Circus) ; with Anne Torres for a show entitled « l’Exercice de la Bataille » (the exercice of the battle). With his company Attentat he has premiered some operas whose form is new, for the voice, the way of playing with body and the absence of text. The achievement of this work is realised in the frame of the Festival Musica in Strasbourg and the Festival d’Automne in Paris with « Fragments », in collaboration with IRCAM . He is actually writing an opera, commissioned by the Opera National de Strasbourg for September 2005.
Definitely contemporary, always inventing, he goes from the instrumental « classic » writing, to the most innovating research for an opera, which only preserves its name. He passes through the sound exploitation proposed by electronics, up to the transformations realised at the IRCAM (Paris) for his last opera Fragments. He has worked together with Jean Louis Barrault for the music of his opening show at the Theatre du Rond Point in Paris ; with Dominique Bagouet who used his music and title « Fantasia Semplice » for his ballet premiered at the Opera de Paris (Garnier) ; with Karin Saporta for the music of a film for the Musée d’Orsay « Le Cirque » (the Circus) ; with Anne Torres for a show entitled « l’Exercice de la Bataille » (the exercice of the battle). With his company Attentat he has premiered some operas whose form is new, for the voice, the way of playing with body and the absence of text. The achievement of this work is realised in the frame of the Festival Musica in Strasbourg and the Festival d’Automne in Paris with « Fragments », in collaboration with IRCAM . He is actually writing an opera, commissioned by the Opera National de Strasbourg for September 2005.