When Demos relies on creation

Spotlights 28.07.2021

When we think of Démos, the flagship of the Philharmonie de Paris' educational project, we think of the orchestra and classical music. However, the educational and social programme, launched in 2010, is increasingly focusing on creation and developing an ambitious commissioning policy. We take a closer look with Gilles Delebarre, its educational manager.

What is the place of creation and contemporary repertoires in the Démos programme?
Demos is first and foremost a musical education and cultural democratisation project: for three years, primary and secondary school pupils learn music and play in an orchestra. The choice of classical music is political: we wanted to show, following the example of El Sistema* in Venezuela, that this music, which is considered to be reserved for the dominant classes, can be appropriated by other, more modest audiences. It is true that our main subject is classical music. However, we have to offer more to children, otherwise we are implying that there is no salvation outside classical music. Classical music represents 70% of our repertoire, the rest is devoted to music from the oral tradition, contemporary creation and new languages.

However, there are Demos programmes in the regions where creative music is particularly highlighted...
Demos works according to a pedagogy that has been the subject of much research, with musicians trained by us, but also knows how to adapt to the different territories and local players. For example, in Thouars, in the Nouvelle-Aquitaine region, the proportion of creative music is greater than elsewhere. In 2018, the Philharmonie launched a pilot project there: the first contemporary Demos. This experiment is supported by the Ars Nova ensemble and its director, Jean-Michaël Lavoie. The contemporary repertoire, which the pupils of traditional Demos orchestras normally tackle at the end of the third year, is this time tackled at the beginning of their musical training. The hundred or so children who participate in this project learn their first musical notions and make their instrument from recycled materials. Starting with contemporary music allows us to propose another way of learning, based in particular on improvisation.

How is Demos' commissioning policy evolving?
We are placing more and more commissions for the 45 orchestras that we have in the region. These children must have access to the reality of music: they will never meet Bach, but they will be able to meet today's composers! Our composers have quite precise specifications, so that they understand where the children are in their acquisition. They must also take into account the technical constraints of each Demos orchestra. However, just because a piece has to be played by children does not mean that it has to be too simplified. We therefore work hand in hand with composers. Demos is a philosophy, an ecosystem. We organise seminars for our conductors, which allow them to meet and exchange ideas. We would like to do the same thing for composers.

Interview by Suzanne Gervais

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