Passionate, prolific, and complicated, composer David Lang embodies the restless spirit of invention. Lang is at the same time deeply versed in the classical tradition and committed to music that resists categorization, constantly creating new forms.

In the words of The New Yorker, “With his winning of the Pulitzer Prize for the little match girl passion (one of the most original and moving scores of recent years), Lang, once a postminimalist enfant terrible, has solidified his standing as an American master.”

Many of Lang’s pieces resemble each other only in the fierce intelligence and clarity of vision that inform their structures. His catalogue is extensive, and his opera, orchestra, chamber and solo works are by turns ominous, ethereal, urgent, hypnotic, unsettling and very emotionally direct. Much of his work seeks to expand the definition of virtuosity in music-even the deceptively simple pieces can be fiendishly difficult to play and require incredible concentration by musicians and audiences alike.

the little match girl passion, commissioned by Carnegie Hall for Paul Hillier’s vocal ensemble Theater of Voices, was awarded the 2008 Pulitzer Prize for music. Of the piece, The Washington Post‘s Tim Page said, “I don’t think I’ve ever been so moved by a new, and largely unheralded, composition as I was by David Lang’s little match girl passion, which is unlike any music I know.”

Other recent projects include writing on water for the London Sinfonietta, with libretto and visuals by English filmmaker Peter Greenaway; the difficulty of crossing a field, a fully-staged opera for the Kronos Quartet; loud love songs, a concerto for the percussionist Evelyn Glennie; and the oratorio Shelter, with co-composers Michael Gordon and Julia Wolfe, at the Next Wave Festival of the Brooklyn Academy of Music, staged by Ridge Theater and featuring the Norwegian vocal ensemble Trio Mediaeval.

Lang is one of America’s most performed composers. “There is no name yet for this kind of music,” wrote Los Angeles Times music critic Mark Swed of Lang’s work, but audiences around the globe are hearing more and more of it, in performances by such organizations as Santa Fe Opera, the New York Philharmonic, the Netherlands Chamber Choir, the Boston Symphony, the Munich Chamber Orchestra, and the Kronos Quartet; at Tanglewood, the BBC Proms, The Munich Biennale, the Settembre Musica Festival, the Sidney 2000 Olympic Arts Festival and the Almeida, Holland, Berlin, and Strasbourg Festivals; in theater productions in New York, San Francisco and London; alongside the choreography of Twyla Tharp, La La La Human Steps, The Netherlands Dance Theater and the Paris Opera Ballet; and at Lincoln Center, the Southbank Centre, Carnegie Hall, the Kennedy Center, the Barbican Centre, and the Brooklyn Academy of Music.

Lang is the recipient of numerous honors and awards, including the Pulitzer Prize, the Rome Prize, the BMW Music-Theater Prize (Munich), and grants from the Guggenheim Foundation, the Foundation for Contemporary Performance Arts, the National Endowment for the Arts, the New York Foundation for the Arts, and the American Academy of Arts and Letters. In 1999, he received a Bessie Award for his music in choreographer Susan Marshall’s The Most Dangerous Room in the House, performed live by the Bang on a Can All-Stars at the Next Wave Festival of the Brooklyn Academy of Music. The Carbon Copy Building won the 2000 Village Voice OBIE Award for Best New American Work. The recording of The Passing Measures, on Cantaloupe, was named one of the best CDs of 2001 by The New Yorker. His recent CD Pierced, on Naxos, was praised both on the rock music site Pitchfork and in the classical magazine Gramophone, and was called his “most exciting new work in years” by the San Francisco Chronicle. The CD of the little match girl passion was released in June 2009 on Harmonia Mundi.

Lang is co-founder and co-artistic director of New York’s legendary music organization Bang on a Can. His work has been recorded on the Sony Classical, Harmonia Mundi, Teldec, BMG, Point, Chandos, Argo/Decca, and Cantaloupe labels, among others. His music is published by Red Poppy Music (ASCAP) and is distributed worldwide by G. Schirmer, Inc.


Michael Gordon’s music merges subtle rhythmic invention with incredible power embodying, in the words of The New Yorker’s Alex Ross, “the fury of punk rock, the nervous brilliance of free jazz and the intransigence of classical modernism.” Over the past 25 years, Gordon has produced a strikingly diverse body of work, ranging from large-scale pieces for high-energy ensembles to major orchestral commissions to works conceived specifically for the recording studio. Transcending categorization, this music represents the collision of mysterious introspection and brutal directness.

Deeply passionate about the sonic potential of the traditional orchestra, Gordon’s orchestral works include Rewriting Beethoven’s Seventh Symphony, a radical reworking of the original, commissioned by the 2006 Beethoven Festival in Bonn and premiered by Jonathon Nott and the Bamberger Symphony; and Sunshine of your Love, written for over 100 instruments divided into four microtonally tuned groups. Under the baton of composer/conductor John Adams, The Ensemble Modern Orchestra toured Sunshine of your Love to seven European capitals in 1999. Gordon’s string orchestra piece Weather was commissioned by the Siemens Foundation Kultur Program, and after its tour was recorded and released on Nonesuch to great critical and popular success. His interest in exploring various sound textures has led him to create chamber works that distort traditional classical instruments with electronic effects and guitar pedals, including Potassium for the Kronos Quartet and Industry for cellist Maya Beiser. Also for Kronos, The Sad Park, written in 2006, uses the voices of child witnesses to September 11th as its subject. Gordon’s monumental, 52-minute Trance, originally written for the UK-based group Icebreaker, was debuted in 1997 and recently performed twice in New York City by the ensemble Signal.

Michael Gordon’s special interest in adding dimensionality to the traditional concert experience has led to numerous collaborations with artists in other media, most frequently with filmmaker Bill Morrison and Ridge Theater. In Decasia, a commission from Europaischer Musikmonat for the Basel Sinfonietta, the audience is encircled by the orchestra and large projections. A large-scale, single-movement, relentlessly monumental work about decay – the decay of melody, tuning, and classical music itself – Decasia has become a cult favorite since its premiere in 2001, frequently performed at music festivals, art museums and film festivals around the world. Gordon and Morrison’s works together also include two film symphonies centered on cities: Dystopia (about Los Angeles) in 2008 for David Robertson and the Los Angeles Philharmonic, and Gotham (about New York City) in 2004 for the American Composers Orchestra.

Works for theater and opera include What To Wear, a collaboration with director Richard Foreman, which premiered at the REDCAT Theater in Los Angeles; Aquanetta, about the 1940s B-Movie starlet for Oper Aachen; Lost Objects, an oratorio for baroque orchestra in collaboration with David Lang, Julia Wolfe and director Francois Girard, which was seen at the 2004 Next Wave Festival at BAM; and Van Gogh, vocal settings from the letters of Vincent Van Gogh, recorded by Alarm Will Sound. Most recently, Gordon again collaborated with Ridge Theater on the multi-performer song cycle lightning at our feet, co-commissioned by Cynthia Woods Mitchell Center for the Arts at the University of Houston and the Brooklyn Academy of Music for the 2008 Next Wave Festival. lightning at our feet straddles arts media, giving Dickinson’s poetry mobility in music while encompassing her words in a world of visual imagery.

Gordon’s music has been featured prominently in the dance works of Emio Greco | PC, Wayne McGregor (for Stuttgart Ballet, Random Dance), Pina Bausch’s Tanztheater Wuppertal, Heinz Spoerli (for Zürich Ballet), Ashley Page (for The Royal Ballet and The Scottish Ballet) and Club Guy & Roni. His project [purgatorio] POPOPERA is a guitar piece written for seven dancers from the Emio Greco|PC company who, before originating the piece, did not know how to play guitar. The resulting 75-minute work debuted in 2008 at the Holland Music Festival. The music was released as an EP on the Cantaloupe label.

Gordon has been commissioned by Lincoln Center, Carnegie Hall, the BBC Proms, the Brooklyn Academy of Music, Settembre Musica, the Holland Music Festival, the Dresden Festival and the Sydney 2000 Olympic Arts Festival, among others. His music has been performed at the Kennedy Center, Theatre De La Ville, Barbican Centre, Oper Bonn, Kölner Philharmonie and the Southbank Centre. The recipient of multiple awards and grants, Gordon has been honored by the Guggenheim Foundation, the National Endowment for the Arts, the Foundation for Contemporary Performance Arts, and the American Academy of Arts and Letters. His recordings include Weather (Nonesuch), Light is Calling (Nonesuch), Decasia (Cantaloupe), (purgatorio) POPOPERA (Cantaloupe), Van Gogh (Cantaloupe), Trance (Argo/Cantaloupe), and Big Noise from Nicaragua (CRI). Formed in 1983 as The Michael Gordon Philharmonic and renamed The Michael Gordon Band in 2000, Gordon’s own ensemble performed across Europe and the United States at venues as diverse as Alice Tully Hall and the punk mecca CBGB, on the Contemporary Music Network Tour and at the Almeida Festival in London.

Born in Miami Beach in 1956, Gordon holds a Bachelor of Arts from New York University and a Masters of Music from the Yale School of Music. His music is published by Red Poppy Music (ASCAP) and is distributed worldwide by G. Schirmer, Inc.



Maud le Pladec was trained in contemporary dance in 1999 when joining the e.x.e.r.c.e program at the Centre Chorégraphique of Montpellier directed by Mathilde Monnier. She went on to work abroad starting with Vienna, Austria, participating in the danceWEB scholarshhip program, then as a performer in various projects by choreographers such as Takiko Iwabuchi (Japan), Guillermo Bothello (Switzerland), Patricia Kuypers (Belgium), Bojana Mladenovic and Dusan Muric (Serbia).

In 2001, she created her first piece in which the main issues and concerns derived directly from her stay in Tokyo. This first undertaking would mark the beginning of a desire to set up a framework for choreographic research and this decision was confirmed when meeting Mickaël Phelippeau, Typhaine Heissat, Virginie Thomas and Maeva Cunci. The same year, at the initiative of these five dancers, the collective Leclubdes5 was born.

All the while, Maud Le Pladec continued her trajectory as a performer and participated in creations such as Texture-compositeSagen and Décomposition by Emmanuelle Vo-Dinh In 2000, she met Loïc Touzé who invited her to work alongside Mathieu Doze, Jennifer Lacey and Latifa Laâbissi on Morceau-les-fondations, the first stage in a long term project entitled Morceau. This collaboration would continue three years later with the creation of the piece Love.

In 2004, she performed in Once upon a time by George Appaix. The same year, within the collective Leclubdes5, she and Mickaël Phelippeau co-created Fidelinka and Fidelinka-extension presented at Les Laboratoires d’Aubervilliers in Paris and Les Subsistances, in Lyon respectively.
She then collaborated with Mathilde Monnier on the creations 2008 Vallée  with singer Philippe Katerine (2006) and Tempo 76 (2007), and then on All Cunningham Project  (2008) by Boris Charmatz in Berlin. She worked with plastics artist, Marcel Dinahet on the set up of Danseurs Immobile at the venue, Ménagerie de Verre and on  Figure presented at the Centre d’Art La Criée in Rennes.

In 2004, she enrolled in the national choreographic culture degree program under dance critic, Laurence Louppe. She now holds a degree in choreographic culture after writing and defending a dance research dissertation on the analysis of choreographic work from the performer’s posture. In 2009, she performed in Ciao Bella by choreographer Herman Diephuis, and then assisted choreographer Boris Charmatz at the Musée de la Danse on the project Roman Photo. She then performed in Levée Conflits (2010), Enfant (2011) and Manger (creation 2014) by Boris Charmatz.

In 2010, Maud Le Pladec created Professor, a choreographic piece for three performers to the music of Fausto Romitelli. Professor received the Choreographic Revelation prize the same year from the French arts guild, Syndicat de la Critique Française. In November 2011, she created Poetry for the Mettre en Scène festival at the Théâtre National de Bretagne in Rennes. Along with Professor, this piece forms a diptych to the music of Fausto Romitelli.

In February 2012 and 2013, she was invited by Les Subsistances in Lyon to create two pieces based on the musical works of David Lang and Julia Wolfe. Ominus Funk and Demo, created especially for the occasion, would be the starting point of a long-term project based on the music of Bang on a Can, a New York based contemporary music collective. In May 2012, she created a live version of Professor in collaboration with the Ictus Ensemble under the direction of Georges-Elie Octors for Festival Les Musiques at Théâtre de la Criée in Marseille. In November 2013, she continues her long-term project by creating DEMOCRACY.

Alongside these creation projects, Maud Le Pladec is a winner of the Hors les Murs scholarship from the Institut Français for the year 2013 and through this program, will carry out a research project on the Bang on a Can initiative in New York. She is equally pursuing work as a performer with Boris Charmatz


L’Atelier XX-21 interprète dans Dystopia et Ominous Funk les œuvres “Stick Figure” et “Cheating, Lying, Stealing” de David Lang sur le plateau.

L’atelier XX-21 du Conservatoire national supérieur musique et danse de Lyon est une formation pratique à la musique des XXe et XXIe siècles. Le travail en ensemble à géométrie variable permet d’approfondir aussi bien le répertoire soliste que des formations dirigées plus importantes. Des séances théoriques sur les langages et les techniques propres au développement des courants musicaux complètent le cursus. L’ensemble travaille avec des compositeurs et des interprètes spécialisés qui viennent enrichir le champ d’investigations. Dans le cadre de la saison publique du CNSMD de Lyon, l’atelier XX-21 se produit régulièrement sous forme de rencontres consacrées à un compositeur et bénéficiant de leurs conseils direct – Klaus Huber, Vinko Globokar, Ivan Fedele, Peter Eötvös, Michael Jarrell, Tristan Murail, Philippe Leroux, Alessandro Solbiati, Ivo Malec, George Benjamin, Henri Pousseur, Georges Aperghis, Betsy Jolas – mais aussi autour de thématiques ou de compositeurs de référence (Conlon Nancarrow, Giacinto Scelsi, Iannis Xenakis, Gérard Grisey, George Crumb.
L’atelier a également participé aux festivals Agora à Paris, Why Note à Dijon, Biennale Musiques en scène à Lyon, aux semaines thématiques Berio, Reich, Boulez et Ligeti organisées par l’Auditorium-Orchestre national de Lyon et s’est déjà produit à la Cité de la Musique à Paris, à l’Opéra national de Lyon et au festival Musica à Strasbourg. Depuis 1998, Fabrice Pierre assure la direction artistique de l’atelier XX-21.
Pour la saison en cours, l’atelier XX-21 a participé au premier festival “Aire de jeu” aux Subsistances à Lyon autour du compositeur David Lang et avec 3 compagnies de danse contemporaine.

Dans l’objectif de professionnaliser les étudiants, le CNSMD de Lyon établit de nombreux partenariats avec des structures de production et de diffusion Ainsi chaque année les étudiants ont l’occasion de se produire très régulièrement à travers les répertoires en France et aussi à l’étranger et de confronter leur enseignement à l’expérience de la scène.


In charge of the documentation in DEMOCRACY projet


Youness Anzane lives and works in Paris. He is a dramaturge and artisticcounselor for dance and theater. He collaborates with directors Jean Jourdheuil, Victor Gauthier-Martin, Thomas Ferrand, David Gauchard, Thomas Gonzalez and Stephane Ghislain Roussel, and choreographers Jonah Bokaer, Christophe Haleb and Julia Cima. Anzane has worked in Paris at the Festival d’Automne, Théâtre de la Bastille, Théâtre de la Ville, Théâtre National de la Colline, and at Théâtre National de Strasbourg, Théâtre National Populaire de Villeurbanne, the Centre Dramatique National de Reims, and the Centre Chorégraphique de Caen. He has also worked on productions in the United States, at Bob Wilson’s Watermill Center, the Guggenheim Museum New York, the Asian Society Texas Center in Houston, and also in Geneva, Lausanne, Luxembourg and Lisbon. At the same time, Anzane is associated dramaturge at the Festival d’Art Lyrique d’Aix-en-Provence for the 2012 edition. 



Costume designer in Professor, Poetry and DEMOCRACY

Born in 1973.

Lives & works in Paris and elsewhere.

Explorer. The body as subject, not pretext. It¹s nothing less than the human body / nature.

This « mise en scene » of the self which is inherent in one¹s clothing. To define and shape spaces. Identities ­ individualities. Multifaceted ­  the social being. Living organisms. Began with art studies, fashion and design.

She then continues her research with, among others, Carlotta & Caterina Sagna, Edmond Russo & Shlomi Tuizer, Frank Micheletti, Fabrice Lambert, Maud Le Pladec , Herman Diephuis, Thomas Quillardet, Richard Siegal, Su-feh Lee & Benoît Lachambre.


Dancer in Professor

Il intègre le Centre National des Arts du Cirque de Chalons en Champagne dans une visée multidisciplinaire, et intègre la formation « Ex.e.r.c.e. » du Centre Chorégraphique National de Montpellier. Depuis il s’est investi dans la création de différents projets : au théâtre où il a participé aux mises en scène « Barker » de Serge Tranvouez, « monelle » de Zouzou Leyens ; mais le plus souvent en danse où il s’est impliqué dans les pièces « frères et soeurs », « tempo 76 », « pavlova 3.23 » et « soapéra » de Mathilde Monnier ; « hommage d’un demi dimanche… » d’Hélène Iratchet ; « cribles » et « augures » d’Emmanuelle Huynh ; « parades and changes » de Anna Halprin recréé par Anne Collod ; « le bénéfice du doute » de Christian Rizzo. Il lui arrive aussi d’interpréter des pièces lors de reprises comme pour « Professor » de Maud Le Pladec. En parallèle de ce travail au plateau, il a mis en piste « je est où, environ » avec Grégo Edelein et Matthieu Ferry, collaboré avec le théâtre « La querelle » en tant qu’assistant chorégraphique et s’est engagé avec Julien Jeanne comme accompagnateur artistique.


Music assistant in DEMOCRACY

Gaël Desbois is drummer for Miossec, Dominic Sonic, Laetita Sheriff, Santa Cruz. Meanwhile, he founds two bands : Mobiil in 2001 with Olivier Mellano, and Del Cielo with Liz Bastard in 2006.

Since 2005, he collaborates with various theater and dance companies. For the choreographer Hervé Koubi, on 4’30 and Un rendez-vous en Afrique, he participates in the musical creation. With the company Théâtre à l’Envers, he participated in Ici ou Ailleurs. He produces soundtracks for different performances: Elephant Mande of Benoît Hattet, Couteau de nuit and L’Instinct de L’Instant  of Nadia Xerri.L, Soigne ta garde and Un tiens et deux tu l’auras  of Josselin Pariette, A nos Etoiles d’Arnaud Stéphan (festival Mettre en Scène 2011)…

He produces and records music for short films “Autopsy” by Pauline Goasmat. Since 2011, he is also working with the writer Nathalie Burel for Megabel media, and  with the singer Julie Seiller.

Site de Gaël Desbois



Born in 1984 in Dnepropetrovsk (Ukrainia), lives in Moscow.

After graduating in 2006 (PARTS, Brussels), Olga Dukhovnaya arrived in Moscowand began a collaboration with the video artist and architect Konstatin Telepatov. The same year, with the support of the dance Agency TSEKH, they organized a project, Monkey Production, mixing dance, video and animation.  Since 2008, Olga runs regular courses on movement and composition for non-professional actors and dancers. In 2009, she was awarded the festival DanceWeb ImpulsTanz / Vienna. In 2010, she focuses on her own work and is dancer in Levée des conflits (Boris Charmatz).



Maria Ferreira Silva, born in Lisbon in 1988, started dancing at the age of 5.

In 1998 she begun her studies at the National Conservatory of Lisbon (EDCN) directed by Ana Pereira Caldas and José Luís Vieira. During this 8 year program, she studied Classical, Character, Modern and Portuguese Traditional Dance.

In 2006 she performed with Quorum Ballet, Kismet , a duet choreographed by Daniel Cardoso.

After graduating in 2006 from EDCN, she moved to Brussels to study at P.A.R.T.S. (Performing Arts Research and Training Studios) directed by Anne Teresa De Keersmaeker

Consecutively, from 2007 until 2010 the Foundation Caloust Gulbenkian granted her a scholarship for the studies at P.A.R.T.S.

She completed the Research and Training Cycle in 2010 and since then she has been developing her artist path by collaborating with different artist as a freelancer.

Together with Veli Lehtovaara she started a collaboration still back in P.A.R.T.S.. Light as a Feather, Green as an Apple is a duet piece co-created as a graduation work for the P.A.R.T.S. Graduation 2010 Tour. After finishing the studies a new version of the piece has been presented in Theater Malpertuis, (BE 2011,2012), Zodiak – Center for New Dance (FIN, 2012), Spring Dance festival (NL, 2012), Next Festival (BE, 2012), OPEK (BE, 2012), December Dance (BE, 2012), with the support and co-production of Zodiak – Center for New Dance (FIN) and  Theater Malpertuis (BE).

As a dancer/interpreter she has worked for the company Willi Dorner in the project Bodies in Urban spaces in May 2011 in Antwerp and in August 2012 in Hasselt for the festival Theater Op De Markt.

In April 2012, also as a dancer/ interpreter, she join Daniel Linehan for the creation of Gaze is a Gap is a Ghost. This piece was premiered last October at deSingel in Antwerp and is still on tour.

Currently she is working with the french choreographer Maud le Pladec for the  Piece  Democracy that will premier on 12th of November on the Festival Mettre en Scène, Rennes.