Created in 1992 by Edith Lejet, this class is devoted to musical writing and invention, based on in-depth study of the works and appropriation of the compositional techniques of the ^20th and ^21st centuries. Two or three themes are addressed during the year, through the prism of a composer, a body of works, or a writing technique through its evolution.

Three times a year, the works produced during the course are performed and recorded by soloists, chamber musicians or small ensembles under direction. Using models that are emblematic of a century teeming with innovation, the class enables students to embrace the entire process of musical invention, from an in-depth examination of the genesis of the composition and the expertise involved in its development to the collaboration with the performers.

Programme for 2020-2021 :

• Laboratory: The canon (Bartok, Ligeti, G. Benjamin)
• In-house work (8 weeks): piece for small ensemble in the style of Stravinsky
• Loge de 17 avec piano: piece for solo wind instrument, reference works: Berio, Sequenzas Gesti, Studie zu Sequenza VII

Programme for 2021-2022 :

• Laboratory: Strata and textures (Stravinsky, Ives, Messiaen, Ligeti, Murail, Saariaho)
• In-house work (8 weeks): piece for small ensemble in the style of Edgar Varèse
• Loge de 17 avec piano: keyboard piece(s) (piano, two pianos, harpsichord, organ) in the style of György Ligeti

Programme for 2022-2023 :

• Laboratory: The Open Work after A. Boucourechliev
• Homework (8 weeks): piece for small ensemble in the style of Pierre Boulez
• Loge de 17h avec piano: piece for solo instrument in the style of Berio

Programme for 2023-2024 :

• Laboratory: The Open Work after A. Boucourechliev
• Homework (8 weeks): piece for small ensemble in the style of Ligeti
• Loge de 17h avec piano: piece for solo instrument in the style of Berio

Programme for 2024-2025 :

• Laboratory: Varèse
• Homework (8 weeks): piece for small ensemble in the manner of Ligeti
• 5 pm lodge with piano: piece for solo instrument in the style of Berio

Through exploration of the instrument's repertoire, historical perspective and in-depth technical work, this course aims to develop mastery of the instrument and a critical approach to interpretation. Particular attention is paid to listening to one's body, in order to prevent the aches and pains associated with playing the instrument. The face-to-face teaching approach allows for personalised learning, helping each student to reach his or her full potential.

Through exploration of the instrument's repertoire, historical perspective and in-depth technical work, this course aims to develop mastery of the instrument and a critical approach to interpretation. Particular attention is paid to listening to one's body, in order to prevent the aches and pains associated with playing the instrument. The face-to-face teaching approach allows for personalised learning, helping each student to reach his or her full potential.

One of the aims of harpsichord teaching is to teach students the art of playing the harpsichord, so dear to François Couperin (1668-1733): in other words, not only the art of playing the instrument well, but also the art of touching and moving today's audiences with this marvellous repertoire spanning several centuries. Baroque music is plural; the musical idioms of each country are highly distinctive, more so than in later periods. The course aims to reflect this variety of languages. Thus, the art of touching the harpsichord is also the art of touching harpsichords, because different instruments bring out different works of astonishing beauty and topicality. This diversity is made possible by the incredible richness of the range of keyboards in our instrumental repertoire.