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 writing music.
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.
His music is played in Europa (Germany, Belgium, Italy), United States, Canada, Korea, Japan. Sometimes it is even played in France... He has the big luck 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
a prominent 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 cursus, 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: freedom.