It makes you wonder if these playlists were not just created to justify that we spend our time listening to music from morning to night! And our only ambition, by way of work, would be to simply clear ourselves of this simple and hedonistic pleasure by sharing them with you!

The playlist of Michèle Tosi

Bastien David (born in 1990) : Vendre le ciel aux ténèbres (2020)
When he is not building his own instruments, Bastien David submits traditional violin making to all sorts of playing modes that divert its sonorities. Thus he treats the sound without using electricity, giving birth to a fantastic garden from this meticulous engineering.    

Betsy Jolas (b. 1926): Little Summer Suite (2016)
The seven short pieces that follow one another embody the idea of wandering, using, as in Mussorgsky's Pictures at an Exhibition, a strolling theme(Strolling), a sinuous line full of mystery that returns four times in a different dressing. The composer invites us on a "journey of the ear" to the heart of the orchestra, with numerous solos addressed to the musicians of the Berlin Philharmonic who dedicated the work.

Lisa Illean (b. 1987): A through-grown earth (2018)
The Australian composer's work titles all reference nature. Through subtle sound material, she explores the relationship between perceptual phenomena and a personal evocative world. To the instruments and the voice - that of Juliet Fraser, the commissioner of the piece - is added an electronic part of pre-recorded sounds generating microtonal spaces.

David Sanson's playlist

Howard Skempton, Piano Works, John Tilbury (piano) (Sony Classical CD, 2001)
There is some music whose evidence must wait decades before striking you. This is the case of this CD, discovered recently, bringing together two veterans of the British experimental scene: the pianist John Tilbury (born in 1936) and the composer Howard Skempton (born in 1947). Skempton's piano music may be minimalist, repetitive, and marked by Satie like many others, but it is nonetheless striking in its harmonic density and evocative scope. From a 28-second arabesque(Invention) to a string of eighth notes with heady modulations(Quavers 5), the 44 short pieces that make up this program create landscapes whose fragility in no way diminishes their remanence.

Marina Rosenfeld, Teenage Lontano (CD Room40, 2021)
In 2008, for the Whitney Biennial, the New York composer and sound artist Marina Rosenfeld (born in 1968) "reworked" Lontano, the famous score for large orchestra by the Hungarian György Ligeti (1967), by adapting it for a choir of teenagers (guided by headphones) and an electroacoustic environment. The result is more than just "surprising": the alchemy works fully between the electronic textures and these seraphic voices that seem all the more... spectral.

François Robin & Mathias Delplanque, L'Ombre de la bête (CD À la zim !, 2022)
Polymorphic artist, whose spectrum goes from dub to acousmatic, Mathias Delplanque has just published these days a magnificent solo album (his 16th !), Ô seuilon Ici d'Ailleurs. The occasion for me to come back to another record published last summer, in duet this time, with another musician from Nantes: François Robin, a veuze player, a type of bagpipe whose expressive properties he himself has never ceased to multiply by means of electroacoustics. The heady result of this face-to-face encounter is entitled L'Ombre de la bête : six tracks in which the veuze reveals itself as a chameleon and cosmopolitan instrument, and whose krautrock escapes reminded me of the superb Jour de grève published in 2020 by Emmanuelle Parrain and Detlef Weinrich.

Sandrine Maricot Despretz's playlist

Didem Coskunsen : The stuff of dream (2021)
Didem Coskunseven is a young Turkish composer living in Berkeley (USA) who explores with talent the learned and electronic music by mixing with a subtle and swaying balance the salt of maqâmsmelodies with Ottoman origins. Sound artist, she multiplies projects in connection with the dance or the visual arts as in Day was departing for tenor, video and electronics created in June 2021 for Orbital, the "supersonic" chair of the Ecole des Beaux-Arts at Manifeste -Ircam, Paris 

Nicole Lizée: Sepulchre, (2019)
Sepulchre is a piece for string orchestra, percussion, piano and soundtrack premiered on November 19, 2019 by the amazing German ensemble Resonanz, which I had the pleasure of discovering at the November Music 2022 festival in Den Bosh (Netherlands).
Sepulchre is a way of repairing time, abandoned machines, our broken objects, of rubbing classical and electronic materials to make them turn like on turntables, with the grace of violins and cellos that overlap, collide, vocalize in a momentum that shakes us with surprise and delight.

Chaya Czernowin: Sahaf (Performed by Hinge) (2018)
Of Israeli origin, her learning of composition led her to Germany, the United States, Japan, Austria and this can be heard in the richness of the timbres and the freedom of the fusions that she operates. Her music is powerful, physical, direct. The electric guitar that we find in Sahaf (Shifting Gravity series), is an instrument that she loves and that she knows how to make sound strong and right(Black Flowers (2018), Knight of the strange (2015), White Wind Waiting (2013) Drift (2008)) and that makes good when others more timorous confuse it with a harp!