Born near Paris, Patrick Loiseleur begins music at the age of 5 with
viola then piano. He starts writing music as an autodidact in his
teens. He studies first mathematics at Paris's Ecole Normale
Supérieure and receives a PhD in Computer Science from Paris
XI-Orsay University. He is married and father of two when he starts
studying music seriously again, at ENM-Alfred Cortot with Michel
Merlet, where he gets a degree in Composition and another in
Orchestration, then at Conservatoire Royal de Liège (Belgium) where
he gets a Licence of Viola with Pierre-Henri Xuereb in 2011 and a
Master of Composition in 2013 with Michel Fourgon. He is currently
sharing is time between a part-time job as research engineer and
In 2013 he wins an award for La
Victoire de Guernica
(a piece for soprano colorature and
chamber orchestra) at the Rencontres
Internationales de Composition de Cergy-Pontoise.
is played in Europa (Germany, Belgium, Italy), United States,
Canada, Korea, Japan. Sometimes it is even played in France...
He has the opportunity to work with great artists like Vincent Royer
(viola), L'Oiseleur des Longchamps (baritone), Sevan Manoukian
(soprano), Pascal Devouon and Rikako Murata (pianos), Jean-Pierre
Peuvion (clarinet), Fanny Vicens (accordéon), Axia Marinescu
(piano), Philippe Hattat-Colin (piano), Alain Pire (trombone).
He is also the main contributor to the Journal
blog (in French language) on classical and contemporary music.
His music is quite hard to classify and characterized by the
superposition of different styles or abrupt stylistic changes. One
can find elements of tonal music, (post-)serial music, spectral
music, noises, electro-acoustic music, ancient music, all of them
remixed in the same piece. However he has been and still is to a
large extent influenced by french music from Ravel to Messian,
Dutilleux and Grisey. Far away from any kind of conservatism, his
difference can be explained maybe by his atypical educatio, or by a
material independence. He is not aiming at winning competitions,
seducing either the public or other composers with known tricks. His
chief goal is to express various emotions in the most sincere way.
Being an interpret himself, he always respects the instruments and
the voices (and thus earns the gratitude of those who play his
music), while remaining faithful to his only stylistic credo: