Un projet de Grard Hourbette & Thierry Zaboitzeff

Art Zoyd + guests

Serge

FEATURING

Bertocchi, saxophones

Romuald

Cabardos, percussion, pads

Daniel

Denis, percussion, pads

Yukari

Hamada-Bertocchi, Keybords

Grard

Hourbette, samplers

Daniel

Koskowitz, percussion, pads, guitar

Michael
Nadia

Nick, violin

Ratsimandresy, Keyboards,

Jean-Pierre
Thierry

Soarez, trumpet

Zaboitzeff, bass, cello and voice

Sylvie Debare, direction technique, rgie et cration lumire

Pierre Sampagnay, son
Florent Meunier, backline

Extracts from :

Symphonie pour le jour o bruleront les cits,

Phase IV,
Espaces inquiets,
Le mariage du ciel et de lenfer,
Berlin,
Nosferatu,
Marathonnerre,
Faust,
Ubique
Metropolis
La Chute de la Maison Usher

STATEMENT OF INTENT
44 and a half by Art Zoyd, or almost 45 years, is a true event as it concerns the entire existence
of the group (intact and unmovable since 1969 (according to whose viewpoint we are talking
about).
For the occasion, we are preparing a grand concert (already in the line-up for the RIO (Rock in
Opposition) festival in Carmaux near Albi, and at the Abbatoirs in Bourgoin-Jallieu) that could
be played in any number of places in the future.
The pieces are still in the process of being reorchestrated and rehearsed and will form a show
lasting over two hours.
There will be nine or ten musicians, if I count myself: 4 from the present group (2 keyboards,
including Martenot waves, 2 percussionists (see line up) + Thierry Zaboitzeff (base guitarist,
cello player and composer from 1971 to 1996), Jean-Pierre Soarez (trumpet player from 1976
to 1985), Serge Bertocchi (saxophones), 1 violonist/viola player (Michael Nick), and Daniel
Denis from Univers Zro (percussion & pads).
The idea is to show that this music written in the late seventies/early eighties to the present
can be part of our repertoire and be played again whenever the fancy takes us, by new
musicians or with new arrangements, that may be spectacular or imaginative.
It is a recital, more or less chronological, of the pieces that are considered as our reference or
"cult" pieces (our records or CDs are still sold, talked about or reissued 20 or 40 years on). The
concert will therefore only include pieces from Art Zoyd's repertoire, from Symphonie pour le
jour o brleront les cits (Symphony for the Day Cities Will Burn) to The Fall of the House of
Usher, including Nosferatu, Berlin, Marathonnerre, Phase IV and so on.
I had been toying with the (wonderful awful) idea of replaying all these "old" pieces for a long
time.But I wasn't alone: my co-writer Thierry Zaboitzeff, who left the band in 1997 had been
thinking along the same lines
This event will not only mark my reunion with Thierry after 18 years, but also with our original
trumpet player, Jean-Pierre Soarez, under the watchful but benevolent eye of Daniel Denis,
the founder of Univers Zro, who played with us both live and on many of our early albums.
It is a unique project, the sort you can bring out for a 45th, 50th, 60th or 100th anniversary. A
real ceremony, a party (with magic, black of course), a festival of music that covers all styles
and types of instrument(arium)s brought together by people who haven't played together for a
long time or who even haven't even played together before.
We will also be putting out a box set of eleven CDS of unreleased music, including live
recordings, music for theatre, ballets, exhibitions or other events.
Grard Hourbette Art Zoyd - 2015

PARALLEL INTERVIEW
Thierry Zaboitzeff & Grard Hourbette
How did you come to decide to do this concert and work together after almost 20 years?
T.Z.:
To start with, I still think about Rocco Fernandez who founded the group in 1969 and who asked
Grard and me to join it in 1971, for better or worse...
Rocco made a big impression on me, he taught me a lot and was himself self-taught, provocative
and a bit edgy...Thank you Rocco!
We went many years without seeing each other while following what the other was doing from a
distance and recently I started to want to see Grard more often as I had always regretted the way
we parted in 1997, and it was time to get back together in a calmer frame of mind.
In the last three years, between the various projects I was involved in or had initiated, I always felt
deep inside that I would need to return to the music of our past at least once more.
We raised the question several times of replaying those old pieces, but we needed the resources
and the time to do it and Grard was not too keen on the idea at first, fearing what it could do to
the image of Art Zoyd, this looking back to the past...
I offered to work on the project on my own, without using the name Art Zoyd of course, and that's
where we left it.
A while later, Michel Besset, the organizer of the RIO called me to ask if Art Zoyd would like to play
at the 2015 festival. I told him to speak to Grard and this is how the idea was rekindled.
I could also give some more personal reasons: This era, or slice of my life, was for me, as a selftaught musician, a means of launching my career, a time full of challenges each more crazy than
the next. For example, to do something in keeping with current Rock trends with two violins, a
trumpet and a base guitar, while exploring Free-Jazz and certain types of contemporary music was
quite mindblowing!!!
G.H.:
We had been chasing our tails for a while.. Thierry and I met up from time to time and strangely
we had both been musing over more or less the same idea.
For some time, I had been toying with the idea of an instrumental concert based on the repertoire
of Art Zoyd V1... perhaps some sort of educational project? (With young musicians who could have
played the music like a classical score), a one-off Goodbye and Happy New Year sort of project
(just joking). Or an editorial project (publishing the sheet music so it can be played)... I was also
thinking of a party, an event to celebrate the 44 (and a half) years since Art Zoyd was formed.
Thierry and I ended up talking about it because he also wanted to play some of his pieces, and
mine too, again, with me. That was what really sparked the idea off. I didn't want a concert along
those lines to be played outside of Art Zoyd. To preserve our image, but also show consideration
for what would come next and for todays musicians who continue to play and reinvent our music,
some of whom have been around for almost 15 years!

What in fact set it all in motion was a call from Michel Besset, Art Zoyd's first producer back in the
early days in 1975 when we were making records, now director of the RIO festival in Carmaux.
The project was back on track! But it was quite a challenge squeezing over 40 years of music into
two hours, with all our changes of instruments, technologies and styles!
I feel it is important though to revive these pieces and we have really enjoyed reworking and
replaying music that doesn't seem to have aged at all really, even after 40 years.
How did you select the musicians to play in the new Art Zoyd?
T.Z.:
As I myself am no longer a member of Art Zoyd, I left the choice up to Grard who wanted the
present make-up of Art Zoyd to be part of the project, with some guest ex-members of the band,
such as Jean-Pierre Soarez (trumpet), one of our key musicians from 75 to 86, and myself (on
composition, base guitar, cello and vocals)
I personally would have like to play again with Patricia Dallio or Thierry Willems, Andr
Mergenthaller, but the decision really depended on the one with the legal rights to the Art Zoyd
brand: Grard Hourbette.
G.H.:
Play an Art Zoyd concert without Art Zoyd would be inconceivable to me. This project had to be an
"Art Zoyd" project. It was the just recognition of so many years of hard work by the group, work
that continued to go on in spite of the inevitable break-ups and distances that are all part of real
6

life, and the choices and hitches in each and everyone's lives.
So: there are four musicians from the present band (2 keyboards + Martenot waves, Yukari
Hamada and Nadia Ratsimandresy and 2 percussionists, Daniel Koskowitz and Romuald Cabardos)
with guest players Thierry Zaboitzeff (co-founding member, base guitar, vocals, cello), Jean-Pierre
Soarez, (trumpet from 1975 to 1986), Daniel Denis, (founder of Univers Zero and percussionist on
several albums), Serge Bertocchi (saxophones in Metropolis among others) & Michael Nick
(violinist who toured with us in 1983!) In all 9 musicians if I have counted right

How did you choose which pieces to play?

T.Z.:
I tried to find those pieces in our repertoire that could be qualified as "Master Pieces" by going
through our various productions. This was very hard since we had a more or less fixed stage time
for the concert that we had to stick to. Regretfully, some of the pieces had to be left out but the
main ones that marked the part of our career I was involved in from 1975 to 1997 will be there,
covering just about all our musical styles.
G.H.:
It is hard to imagine being able to find a balance between our early work, torn between
contemporary music, free jazz and violence, followed by a "classicalised" period and the
"imaginary" orchestras of Faust or Nosferatu to the more "contemporary" compositions we are
doing now, which combine electronic music, images and sound, by definition something very
different from the format of a traditional instrumental concert.
Thierry and I decided which pieces concerned us most from 1975 to 1996 and for the rest, I
created an arrangement combining Ubique, Metropolis and the Fall of the House of Usher, played
for the first time in the Louvre in 2008, all of which are relatively instrumental and lend themselves
to the extended instrumentation of the 9 musicians on the stage.

Who is the concert aimed at? Will it be like a birthday party with family and old friends?
T.Z.:
Our aim is to offer a repertoire of what we consider(ed) as our best pieces that are still being
played today. I had already noticed that we tend to attract more/new followers every six to seven
years and clearly remember one of my stupid comments I made around 1981 or 82 I think.
We hadn't played Paris for some years and I was afraid that when we went back there we would
find ourselves playing before fans of Magma or other Post-Prog Rock, but in fact the audience was
more Punk: it was quite a surprise, but we found the same in other capitals like Berlin where a
journalist qualified our music as "Kammer Muzik fr Punk" (Punk Chamber Music). Thinking about
it, while it was a bit of an exaggeration, we did have that amazing energy that was quite
provocative

So this concert will obviously be for all those who have followed Art Zoyd over all these years,
some of which will have come to it a quarter, or half of the way or more recently, and to all those
who are just curious to see what we do.
G.H.:
It is definitely to give new life to those pieces that for me are "classics";
and in a way to prove that "modernity" is timeless and has no boundaries. And that any type of
writing is "interesting" insofar that it responds to a desire or a need to write.
In the end, this concert is also an opportunity to get back together again, like a birthday party, yes,
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a party whose title ends with "and a half", meaning that nothing is complete, over, neither finished
nor closed.
What is your best memory of your years together?
T.Z.:
I have many good memories, but if I had to choose just one, it would be "The Marriage of Heaven
and Hell" which we were invited to play by the choreographer Roland Petit at the Milan Scala,
Palazzo del Sport. With the original music played live for a ballet by Roland Petit. It was music we
had perfected during our European tour in 1984. We switched from being a band that played for
clubs or cultural centres to a band that played on the main stages, distancing us for a time from the
shackles of Rock Music.
It was an opening point towards other projects, other media and which naturally led us to create
our first Movie-Concert in 1988, "Nosferatu".
G.H.:
Our concert at the sports stadium in Toulouse in 1976 in front of a huge audience that was not
intended for us, but gave us a standing ovation for several never-ending minutes...
It was the first time I realized that this music we had manufactured in our basements could speak
to a wide public, in spite of its arrogance and clumsiness, and so different to commercial rock
music. What is the point of writing music if it isn't communicated, shared or understood?

To Grard: You have often made the musicians almost invisible in your projects involving films or
scenography. This time you are putting them on front stage. Does this represent a change in how
you want your music to be played or is it just for this occasion?
How did the musicians of the present band react when you told them about the project?

G.H.:
First of all, it is not our music in the singular, but in the plural. I was not alone in designing the
project. What Thierry and I set out to do was to compose a "concert".
More precisely, with new technologies, and the disappearance, or at least the putting into the
background of traditional instruments, together with the crossing and symbiosis of visual art with
music, the musician automatically becomes a sort of parameter in a "total" show.
Also, I have never really liked "virtuoso" musicians, they are like acrobats whose art is more often
based on seduction and seeking admiration than on the expressive or meaningful content [of the
music].
All this made Art Zoyd gradually distance itself from the concert format. At the beginning of Art
Zoyd, there was a sort of virtuosity, pushing the pleasure of playing to its limits, but never, at least
as I see it, to the detriment of an artistic unity or fundament.
With hindsight though, I also realize that this pure energy delivered by the musician is also
irreplaceable, something that an invisible loud-speaker can never replace.
In any case, the very essence of the project, this repertoire, means that the musicians will be put at
the forefront. So it is a concert, the rightful return of the energy of the instrumentist, even if he or
she is a hybrid with the electronics.
As for the present band, they have known for a long time that I was considering a return to the
concert; in spite of their growing enthusiasm, the very idea of tackling this repertoire of music
from "the past" frightened them a bit, as there is a huge difference between a live performance
and all it entails and the "work" that is engraved onto a disk! They saw it as a bit of a challenge;
and meeting musicians like Thierry Zaboitzeff or Jean-Pierre Soarez, who for them have a
"mythical" aura, will "electrize" them.

Grard Hourbette Art Zoyd 2015

10

ART ZOYD
Formed in Valenciennes in 1969, Art Zoyd was initially a progressive rock group, influenced by the
music of Captain Beefheart, Frank Zappa and the like.
1971 was marked by the disbanding of some members of the group and by the arrival of Grard
Hourbette and Thierry Zabotzeff, who, after the founding member left in 1975, were to shape the
destiny of the group by radically changing the direction of the group and exploring new avenues.
There were to be no more drums or electric guitars, but a group of four musicians, 2 violins, bass
and trumpet, which were to form the basis of the group for several years.
In 1976, when their first LP was produced, Art Zoyd went on tour with the group Magma (Paris,
Nantes, Toulouse, Colmar ).
In 1978, it joined the international movement Rock in Opposition founded by drummer Chris
Cutler with, among others, Fred Frith, Art Bears, Univers Zero, Stormy Six, Etron Fou Leloublan,
Zamlas Mammas Manna From 1980 to 1984, Art Zoyd toured all over Europe and became a
figurehead of new music (also known as Art Rock or Avant-Rock )
In 1983, choreographer Roland Petit spotted the band in a televised concert and commissioned the
music for a full ballet : Le Mariage du Ciel et de lEnfer, premiered at the Festival de la Scala in
Milan with Art Zoyd on stage, followed by thirty stagings in France, including twelve at the Thtre
des Champs lyses in Paris.
It was a revelation to discover that this music, with its radical choices and developments were so
radical, could please such a large public, little used to the discordant harmonies and rhythmic
beats of this new genre, combining amplified instruments, electric instruments, tapes and voices
It was from that time that the group decided to explore the combination of music and visual arts,
whether performing arts such as dance and drama, or silent movies and video.
Now based in Valenciennes, the group has turned regularly in Europe and the States (Lincoln
Center Festival in New York), Hong Kong, Australia (Adelaide Festival), Japan (1997 and 2002) and
Mexico (1996, 1999 and 2003).
Asked to play for specific events such as the inauguration of the Globe Arena in Stockholm, the
group also composed stage music.

Art Zoyd has gone on to create music for films, such as Nosferatu (1988) and Faust (Rome 1993)
by F.W. Murnau, Hxan by Benjamin Christensen (Queen Elisabeth Hall London 1995). Their
success was amazing: Nosferatu is still performed over fifteen years after it was created, while
Hxan and Faust were staged as recently as 2001 and 2003.
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Thierry Zabotzeff left the group in 1997, which was another turning point in the groups history:
Art Zoyd opened its studios to other artists and composers, working for three years with the
Orchestre National de Lille on the Dangereuses Visions project that involved a symphonic
orchestra, music technology and video. Luc Ferrari, Grard Pape, Thierry de Mey, Heiner Goebbels,
Pierre Vasseur, Helmut Oehring, Christophe Maudot, Eric Sleichim, Granular Synthesis, Grard
Hourbette, for the music and Granular Synthesis, dumb type, Michael Saup, Lydie Jean-Dit-Pannel,
Hagen Klennert, Geert Mul, Safy for the images, all took part in these new adventures . The
concerts (Lille, Crteil, Maubeuge, St Plten, Mexico) attracted over 20000 people.
From 2000, Art Zoyd pursued this experiment and joined forces with the Belgian ensemble
Musiques Nouvelles in a long term project entitled Expriences de Vol (Flight Experiences), with
the aim of founding a Cross-Border Center for the Production and Creation of New Music, which
would offer residencies for artists or composers. The pieces (27 composition to date) are created
on stage, then recorded in the studio by Art Zoyd and Musiques Nouvelles (triple CD c/o Sub Rosa).
The center has extended the studios activities to include production, funding a multitude of
projects (artistic advising, composition contests, classes and training courses, projects with
amateur artists (u.B.I.Q.U.e, Nosferatu 2013, Antares Project, etc.)
In 2001, Art Zoyd created and recorded Metropolis based on the film by Fritz Lang, for the fully
restored version of the film. Metropolis is a sort of meta-music resulting from the layering
of music by several composers, Grard Hourbette, Patricia Dallio and Kasper T. Toeplitz who joined
the group as an associate composer.
In 2001, Gerard Hourbette also composes a music for Karole Armitages Choreography the Cat of
Schrdinger for the National ballet of Nancy.
Art Zoyd is increasingly focusing on research, particularly in electronic instruments and interfaces
(sensors, theremin, real time, etc.), in conjunction with Kasper T. Toeplitz as well as various
production assistants and developers, some of which are from other studios or institutes.
In 2004, Art Zoyd creates for Lille 2004 European Capital of the Culture, ARMAGEDDON, the first
operetta for robots with the robotics engineer Louis-Philippe Demers and Musiques Nouvelles.

12

In 2005, Art Zoyd settles in Valenciennes in new Studios placed by the City at our disposal (in the
same building as the ENMAD conservatory of music of Valenciennes) and creates Les Magasins
Runis with Ars Nova.
In 2006, Le Champ des Larmes , an electronic oratorio mixing the musics of Kasper T Toeplitz,
Gerard Hourbette and the video of Dominik Barbier.
In 2007, Art Zoyd takes part in Valenciennes 2007 To make the popular culture with two giant
pyrotechnical concerts in partnership with the Group F Fleuves de Lumires and Art Zoyd
creates Eyecatcher the man with a movie camera , a dramatic fancy on old modernities
mixing the computer-generated images of Cecile Babiole and the silent film of Vertov, today
instruments and yesterdays one : Theremin, Martenots Waves, Stroh violin.
In 2008, Art Zoyd will create at the Louvre Museum The fall of the House of Usher from jean
Epstein.
In 2009, a new Opera, Pulse from the Kiyoshi Kurosawa novel.
In 2012, a cinema concert for young audience on a text by Celia Houdart A demi endormi dj
In 2013, Three invalid dreams based on the Philip K. Dick universe with images snenographies by
Pierrick Sorin

13

Musicians and Guests

Serge Bertocchi
n eclectic musician born in Albertville (Savoy), he founded the following ensembles : XASAX, the Thuillier-Bertocchi
(tuba-saxophones) duo, the Trio Lzards Dgnrs (guitar, tubax, drums), the Baritone Trio (F. Corneloup, D. Lazro),
The 40 after JC quartet, the Amiens Sax Project saxophone ensemble, Ars Gallica quartet ; he plays with Yochk'O
Seffer, Art Zoyd, Musiques Nouvelles Mons, the Radio-France Philharmonic Orchestra; he played under Myung Wung
Chung, Armin Jordan, Peter Etvs, Arie van Beek, Sylvain Cambreling, Pascal Roph, Luca Francesconi ...
Soloist, chamber musician or improviser, he also plays and records solo, with tape or computer : in Europe, Northern
Amrica, Middle East and Asia.
Serge Bertocchi is a laureate of the Paris Conservatory (1st prize with unanimity in saxophone and chamber music),
along with 6 International competitions.
He is recognised as a specialist of the baritone saxophone since the foundation of the Ars Gallica quartet in 1985, and
of XASAX in 1991. More recently, he adopted (and plays regularly) extreme, rare or forgotten instruments of the
saxophone familly : Tubax, soprillo, C-melody tenor, c-soprano and even the F Mezzo-soprano.
He premiered around 200 new pieces by composers of all kinds, and recorded 38 CDs to this day. Click on images for
more info..

Romuald Cabardos
Romuald Cabardos performs as drummer with Quentin, Christophe Marquilly, Tribute-
Remember, The-Time or Ccile Cognet. Timpanist of classic formation, he joins Art Zoyd as
percussionist on several projects (Ubique, Fleuves de lumire, Les portes du futur).

Daniel Denis
The co-founder, chief composer, and leader of Belgian gothic band Univers Zero, Daniel Denis revealed a more
sensitive side on two solo albums -- Sirius and the Ghosts and Les Eaux Troubles -- during a hiatus from the band in the
early '90s. While the albums retained the acoustic/electric approach of Univers Zero, Denis coaxed a variety of textures
from a blend of synthesized keyboards and percussion, supplemented by a wide array of instruments -- including
clarinet, saxophone, cello, recorder, and bass -- played by his sidemen.
Together with guitarist Roger Trigaux, Denis formed Univers Zero in 1977. While their first two albums -- 1313, released
in 1977, and Heresie, released two years later -- were mostly acoustic and featured violin, viola, cello, bassoon,
harmonium, spinet, bass, guitar, and percussion, their third outing, Ceux du Dehors, issued in 1980, placed greater
emphasis on the use of electric instrumentation. The band pursued an even more electrified approach on Uzed in 1984
and Heatwave in 1986.
Temporarily disbanding a year later, the group reunited in the late '90s, releasing a new album, The Hard Quest, in
1999. With Denis firmly at the helm, Univers Zero continued issuing albums (all on the Cuneiform label) during the
following decade, including Rhythmix (2002), Implosion (2004), Live (2006), and Clivages (2010)
He has regulary played with Art Zoyd, as musician between 1985 and 2000. (Le Mariage du ciel et de l'enfer, Faust,
Ubique) He has been spcial guest for the Fireworks project Fleuves de Lumires in 2007

14

Yukari Hamada-Bertocchi
Born In Tokyo (Japan). Before she obtained the diploma of piano at the university of music of
Ferris in Japan (1984), she was prize winner of several national contests. The same year, she is
accepted unanimously at the Conservatoire national suprieur de musique et de danse de Paris
(CNSMDP). )
Following her first prizes in pianio and chamber music in (CNSMDP) in 1987, she focused her attention on
chamber musicand contemporary music.
At the same time, a strong interest in electro-acoustic music has led her to pursue mixed music
with the group Art Zoyd.
She is currently a professor of piano at the Conservatoire National de Rgion dAmiens, and is an
accompanist at CNSMDP.

Grard Hourbette
Composer and director of the group Art Zoyd. Classic studies (violin, piano, organ, percussion).
He leads a work on sound structures using new musical technologies. His route is strictly and
fundamentally bound to Art Zoyd, of which he composes and leads the main thing of projects.

Daniel Koskowitz
His percussionist and drummer forming, taught him the rhythmic rigour and the taste of the
authentic tones. His interest turns quickly to current musics, participating in the beginning of
the 80s to different structure ( Hellebore , No Museum ).
Collective compositions with the group Soixante Etages .
Solo activities since 1987, under the name of Jagger Naut .
This way, he approaches electronics bound to percussions : composition techniques offered by
the MIDI and Sampling technology.
Compositions for many choreographies and short films, pratice of improvisation,
with the Ensemble Idiom 1238 and Idiom 623 , and the trio Stage 34 .
In 1996, he composed 10 pieces for percussions and samples quintet under the generic title of
Grovers Mills.Then he goes on with his work of writing without forgetting the improvisers role.

Michael Nick
Violinist, composer, visual artist
Studied violin from the age of 8 years with Peter Heil Peter Cornelius Konservatorium in Mainz .
At age 12, he became a student of composition Amend Erwin who himself was a student of Paul Hindemith .
At 17 he left Germany , moved to Paris to play with saxophonist , composer and Hungarian painter Yochk'o
Seffer ( Progressive ) ; parallel he took lessons with Maryvonne Le Dizs ( Ensemble Intercontemporain ) .
Then he collaborated with many musicians and groups such as Art Zoyd , Siegfried Kessler, David Liebman ,
Angelique Ionatos , Jean-Marie Machado, NOHC Didier Petit, Pablo Cueco Michel Doneda , Daunik Lazro
Claude Tchamitchian , Sophie Agnel , Ramon Lopez Cesar Stroscio , Orient Express Mouving Shnorer
Michael Riessler Jerome Noetinger Helen Breschand ,

Nadia Ratsimandresy
She studied music at the Music School of Evry (France) where she discovered in 1992, the
onde Martenot (www.ondewave.com).
She was immediately interested in this instrument and its repertoire. In 1998, she was accepted
at the CNSM de Paris in the onde Martenot class and in the musical acoustics Class the following
year. She won in 2002 her First Prize in onde Martenot and obtained a diploma of musical acoustics.
Nadia is a current member of Trio 3D (www.trio3d.fr) a chamber music group born in 2006 she
cofounded with Sophie Marchal (guitar) and Virginie Colette (soprano).

15

Jean Pierre Soarez

From 1973 to 1985 he participated in Art Zoyd .
Showing a unique timbre between free jazz and tear it creates a tense and lyrical universe at a time. He then
participates in such groups or Quidam Nullstellensatz very oriented jazz / free rock

Thierry Zaboitzeff

1971 : Thierry Zaboitzeff forms the band Art Zoyd (France), which he reforms completely in 1975 in cooperation with
Grard Hourbette.
The group embarks a number of tours throughout the world, presenting ambitious musical and theatrical projects.
- Composes music for the Roland Petit ballet. Cin Concert: Nosferatu / Faust / Hxan, concerts and various
performances (dance / theater...)
- Releases twelve albums that are continually reissued.
- Performances: La Scala, Milan, Yokohama Festival, Hong Kong Arts Festival, Adelaide Festival, Australia, Lincoln
Center, New York, Queen Elizabeth Hall, London, European tours ...
1997 : Thierry Zaboitzeff leaves Art Zoyd and opens his own studio.
Beginning at that moment, he engages in many projects either under the aegis of or in association with several
directors and choreographers : Editta Braun / Beda Percht / Eric Lacascade / Stphane Vrit / Hubert Lepka ... A
veritable sculptor of sonic spaces, he integrates himself within very different universes, and he participates in projects
and events that are presented throughout the various European capitals.
2002 : With his new group, Zaboitzeff & Crew, he creates Missa Furiosa for the Bruckner Festival at Posthof, Linz
(A). This Latin mass for techno-pop ensemble and lyrical singers, which is situated somewhere in between techno-rock
and classical on the spectrum of musical genres, is later taken on tour.
2004 : Zaboitzeff & Crew creates an electronic adaptation of a collection of 13th -century religious hymns, Libbre
Vermell which they perform in Salzburg.
2005 : Thierry Zaboitzeff is invited to compose the music for a performance in homage of Jules Verne: Journey to the
Center of the Earth, performed live by Zaboitzeff & Crew at the Stade de France, Paris, St. Denis, in December 2005.
2006 2009 : numerous compositions - studio and live - for theater (Die Orestie, Prometheus), dance (Coppercity,
Paradies ...) and cinema, latest creation for film: Wind of Sand, Women of Rock by Nathalie Borgers.

From 1997 to 2015 he created 16 Albums, which are situated somewhere among the genres of symphonic rock,
electronic music, and acoustic music.De 1997 2015

16

Preliminary Technical informations

The final technical rider will be sent if you ask for.
Duration :
125
Stage (adaptations are possible but have to be discussed)
Frame: 10 m minimum
From wall to wall : 12 m
depth: 7 m
Height : 6 m
Number of people in tour : 14
(10 musicians + 1 sound engeneer + technical director and lights + 1 backliner + 1 admnistrative
person)
Sound :
Sound Backline (Art Zoyd bring it)
CMixing desk (Art Zoyd bring it)
Mac pro vido & son Art Zoyd bring it)
Has to be provide : Sound for concert hall: stro (type Christian Heil, Meyer Sound, Amadeus, L.
Acoustics) Transportation :
Van20 m3 From Valenciennes (59) France or By plane 20 M3
Technical schedule :
J-1 :set up
J 0 Rehearsal, performance and disassembly
J+1 : Return
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Price :
6000,00 euros HT
++ transportation of material and people , accommodation and perdiems for 14 people

Contacts
Touring :

BERTILLE COUDEVYLLE
Email : bertillecoudevylle@artzoyd.net
Mobile : +33 (0)6 63 76 80 23
Technical Direction:
SYLVIE DEBARE
+ 33 (0)6 03 54 49 56 // debaresylvie@neuf.fr

Administration :

Monique Vialadieu, administratrice, directrice de production

Art Zoyd - Centre Transfrontalier de Production et de Cration Musicales
BP 40506 - 17 Rue Membre - 59321 VALENCIENNES CEDEX-FRANCE
Phone : + 33 (0)3 27 38 01 89 Fax : + 33 (0)3 27 42 25 02
Mobile : + 33 (0)6 10 80 68 60
www.artzoyd.com

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