Pierre de Lune collection
Directed by Armelle Orieux
If you tried to collect meteorites, you might know the kind of dificulties singers, students and teachers face when trying to come up with voice poject themes - even more di?icult when there is no piano but rather another instrument or voice alone. You would see that you are hunting rare objects, variably composed, scattered dissimilar. You would also notice that some fall, that others are decidedly older and you would like to believe that still others are still travelling somewhere out there in space.
The goal of the Pierre de Lune collection is to collect, sort and put together works that will ?nd themselves at the core of your collections. Other works might then join them more easily And that is how concerts come into being.

Armelle Orieux studied voice with Robert Massard a the National Conservatory in Bordeaux and then with Evelyne Koch in Paris. She has performed actively since 1985 in numerous international music festivals in solo recitals and with percussion, guitar, piano, saxophone, flute and with ensembles including 2E2M, Vomova, l'Atelier Lyrique de Tourcoing, Ars Nova, l'Atelier du Rhin, Akademia...
She is especially interested in contemporary repertoire having premiered a number of works by composers of our time at Ircam, Radio France, at CIRM, CCMIX, and WDR in Cologne. She collaborates in pluridisciplinary projects with architects, ?lmakers, sculptors and dancers. She has recorded works by Luigi Nono with Vomova,Gerard Pape with CCMIX, and Pierre Charvet at Ircam. She often gives masterclasses in France and throughout the world.

Alain Bernaud's Aussi bien que les cigales (As well as the cicada), based on a model by Apollinaire, is the fine result of an initiative undertaken at the Paris Conservatory in 2001 by composition professor Luis Naon and saxophone professor Claude Delangle. They had their students, along with vocal students, work together closely on compositional aspects of pieces for voice and saxophone. The adventure, which lasted for the year, resulted in a group of highly varied and original works, part of whose interest being their accessibility for students completing their studies. In the words of Gregory Demarsy, saxophonist and one of the two to whom Alain Berlaud's work was dedicated. "Aussi bien que les cigales ?nds that subtile marriage between saxophone and vocal timbres through playful dialogue, contrast and imitation, all within an electroacoustic world of percussion and grand spectral sounds. The voice uses multiple colors of words themselves, and the saxophone becomes both a second "voice" as well as an electroacoustic element where every instrumental motive obeys the following procedure: Sax/Voice: arpeggios/vocalises - bisbigliano/playing with timbres - key noise and breath/whispering... Sax/Electro: multiphonics, chromaticism... The working out of timbres necessary for the piece's execution is extremely interesting, and they give the piece a surprising aspect. And yet its instrumental technical di?iculty is not great, it allows each performer to work on musical ideas and interpretation." And let us not forget that this work's composition is inspired by Apollinaire's model, a fusion of visual and sound gestures inspiring the composer. It is easy to see that performers will ?nd pleasure in playing this piece. Its freshness and poetry will win them over just as it did the public in 2002 at the Paris Conservatory, Châtelet Theater and Ircam.

Armelle Orieux