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PHILHARMONIE

THE PHILHARMONIE DE PARIS, LAURENT BAYLE’ S POINT OF VIEW

After having, in 1982, created and directed Musica, the International Festival of the Music of Today, Laurent Bayle (57 yrs old)) was in charge, from 1986, of the artistic direction of the IRCAM (Institute for Research and Coordination of Acoustic Music), which he took over in 1992, behind Pierre Boulez. He has been running the Cité de la musique since 2001 and has been, since 2007, the president of the association Philharmonie de Paris, which bears the construction project of the symphonic auditorium that will open in 2012.

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INTRODUCTION

The Philharmonie de Paris, an association supported by the French State and the City of Paris, is undertaking the construction of a complex for the performance of music centred on a major concert auditorium with a capacity of some 2,400 seats in the Parc de la Villette, in the north-east district of Paris.

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THE INCEPTION OF THE PHILHARMONIE

The inception of the project for the future grand auditorium for the City of Paris goes back to 2002.

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6 PROJECTS FOR THE PHILHARMONIE DE PARIS

AJNFrom June 21 to July 31, then from September 1 to 30 2007 the Cité de la Musique in Paris staged an exhibition of the six projects presented for the international design competition for the construction for the Philharmonie de Paris. This gave the public the opportunity to see models and supporting videos showing the proposals by Jean Nouvel, Zaha Hadid, Coop Himmelb(l)au, MVRDV, Francis Soler and Christian de Portzamparc.

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THE FIRST SYMPHONY HALLS

Alte Gewhandhaus  Concert music was for long performed in the open air, in churches, palaces or theatres. As from the XVIIIth century, the first purpose-built concert halls began to appear in places like Oxford, London, Hanover and Leipzig. Then, in the XIXth century, as concerts for a paying audience became increasingly popular, numerous cities began to commission more capacious concert halls whose architecture was based on the rectangular layout of salons and protestant temples. This produced the first basic design, sometimes known as the shoebox in which the orchestra faces the public. The musicians had a head-on relationship with the audience.

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