\r\nLa première génération qui entre de plein droit dans la base est donc celle constituée par John Cage, Olivier Messiaen ou encore Elliott Carter.\r\n\u003C/p>\r\n\r\n\u003Ch3>Contenus\u003C/h3>\r\n\r\n\u003Cp style=\"text-align: justify;\">\r\nLes données sont progressivement mises à jour depuis juillet 2007, en remplacement de celles de l’ancienne version de la base, développée entre 1996 et 2001 par Marc Texier. L’information peut donc être incomplète pour certains compositeurs non encore traités : dans ce cas l’indication « ! Informations antérieures à 2002 » apparaît en haut de page. Pour tous les autres documents, la date de dernière mise à jour est indiquée en haut de page.\r\n\u003C/p>\r\n\r\n\u003Ch3>Mises à jour et nouvelles entrées\u003C/h3>\r\n\r\n\r\n\u003Cp style=\"text-align: justify;\">Les mises à jour se font compositeur par compositeur. Pour un compositeur donné, sont systématiquement revus ou créés les documents suivants :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>la biographie\u003C/li>\r\n \u003Cli>le catalogue exhaustif de ses œuvres (y compris, si possible, les œuvres disparues, retirées ou posthumes)\u003C/li>\r\n \u003Cli>une liste de ressources bibliographiques, discographiques et internet,\u003C/li>\r\n \u003Cli>des éventuels documents attachés (Parcours de l’œuvre, interviews, analyses, notes de programme etc.)\u003C/li>\r\n\u003C/ul>\r\n\u003Cp style=\"text-align: justify;\">\r\nLa définition des priorités de mises à jour et nouvelles entrées des compositeurs s’opèrent suivant une méthodologie basée sur l’observation de la vie culturelle européenne :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>Avant chaque saison, nous relevons les programmations à venir des principaux festivals, institutions et ensembles musicaux européens investis dans le domaine de la création musicale. Cette observation s’opère par cercles concentriques en partant de l’activité propre de l’Ircam (année n-2), puis de celle des partenaires privilégiés (année n-1) jusqu’aux grandes institutions et festivals européens de création (année n) ;\u003C/li>\r\n \u003Cli>Chaque compositeur est crédité de points en fonction de l’importance et de l’intensité de l’activité musicale le concernant. Ce classement permet de définir les priorités pour chaque trimestre ;\u003C/li>\r\n \u003Cli>Si un compositeur n’a pas obtenu assez de points pour figurer dans les priorités, il cumule ceux-ci sur le trimestre suivant ; et ainsi remonte progressivement dans la liste des priorités.\u003C/li>\r\n \u003Cli>Une fois mis à jour, les documents attachés à un compositeur sont valables trois ans, après lesquels le processus décrit ci-dessus reprend.\u003C/li>\r\n\u003C/ul>\t\r\n\r\n\u003Ch3>Erreurs ou omissions\u003C/h3>\t\r\n\t\t\t\t\r\n\u003Cp style=\"text-align: justify;\">\r\nSi la mise à jour est déjà effectuée (date postérieure à juin 2007) : nous invitons les musicologues, les compositeurs (ou leur éditeur) à nous signaler toute erreur ou omission importante. Elle sera corrigée, dans la mesure du possible, au cours du trimestre suivant. De même, nous les invitons à nous faire connaître leurs œuvres nouvelles, en mentionnant tous les éléments nécessaires à la création d’une fiche œuvre nouvelle.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\t\t\r\nSi la mise à jour n’est pas encore effectuée (indication : « mise à jour à venir ») : Les compositeurs peuvent nous signaler des erreurs ou omissions importantes. Ces indications seront prises en compte au moment de la mise à jour à venir. Un compositeur peut également demander le retrait de sa biographie dans l’attente de la mise à jour.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\r\nPour cela : \u003Ca href=\"mailto:brahms-contenu[at]ircam[dot]fr\">écrire\u003C/a> à l’administrateur de publication\r\n\u003C/p>\r\n",{"id":14,"url":15,"titleFr":16,"titleEn":11,"contentFr":17,"contentEn":11},"a3cd05aa-3447-487a-b4fc-213ba0f77e6b","/copyrights/","Mention Légale","La reproduction de contenus de ce site Web, en tout ou partie, est formellement interdite sans la permission écrite de l'Ircam. Les textes, images, logos, codes sources sont la propriété de l'Ircam, ou de détenteurs avec lesquels l'Ircam a négocié les droits de reproduction à sa seule fin d'utilisation dans le cadre du site Brahms. Tout contrevenant s'expose à des poursuites judiciaires. ",{"id":19,"url":20,"titleFr":21,"titleEn":11,"contentFr":22,"contentEn":11},"9162642e-ea99-48c3-8d3b-2dc2a3f8ba45","/repertoire/about/","Projet Répertoire Ircam","\u003Cp>Le Projet Répertoire Ircam est une collection d’analyses musicales en ligne d’environ 70 œuvres crées à l’Ircam et considérées comme représentatives de la culture de l’institut tant sur le plan artistique que technologique.\u003C/p>\r\n\r\n\u003Cp>Ce projet a débuté en 2006-2008 avec la création d’outils auteurs mises en œuvre par le département Interfaces Recherche/Création en collaboration avec le secteur recherche de l’institut. Les premières analyses ont été mises en ligne fin 2010 et il est prévu que la collection s’élargisse à un rythme de deux ou trois nouvelles analyse par an.\u003C/p>\r\n\r\n\u003Cp>Plusieurs objectifs sont poursuivis par ce projet :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>faire connaître les œuvres produites à l’Ircam à un public plus large,\u003C/li>\r\n\t\u003Cli>montrer la relation entre l’idée musicale et les technologies utilisés,\u003C/li>\r\n\t\u003Cli>identifier les nouveaux éléments du vocabulaire musical qui émergent à travers ces œuvres,\u003C/li>\r\n\t\u003Cli>offrir un support d’information aux interprètes.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Chaque analyse est structurée en trois parties :\u003C/p>\r\n\r\n\u003Col>\r\n\t\u003Cli>description générale de l’œuvre,\u003C/li>\r\n\t\u003Cli>analyse des extraits de l’œuvre avec mise en relation de l’idée musicale et de l’écriture électronique,\u003C/li>\r\n\t\u003Cli>la liste de ressources spécifiques (type de problème musical abordé, technologies utilisées, œuvres abordant le même type de problématique) et générales (biographique, historique, technique).\u003C/li>\r\n\u003C/ol>\r\n\r\n\u003Cp>Les analyses seront également mises en relation avec :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Brahms : une base de données encyclopédique en ligne de compositeurs de musique contemporaine de toutes les nationalités dont les œuvres ont été créées après 1945. Cette base contient actuellement environ 600 références. Pour chaque compositeur, il y a une partie biographique accompagnée des sources d’information, et une autre partie qui situe l’orientation esthétique, les phases principales et le contexte historique de l’œuvre.\u003C/li>\r\n\t\u003Cli>Images d’une œuvre : une collection des interviews filmés des compositeurs.\u003C/li>\r\n\t\u003Cli>Sidney : une base de données qui contient les éléments techniques (programmes informatiques, sons etc. ) nécessaires pour l’exécution de l’œuvre.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>A plus long terme, les analyses des nouvelles œuvres créés à l’Ircam viendront se rajouter au corpus donné dans l’annexe citée ci-dessus.\u003C/p>",{"data":24},{"personBySlug":25},{"firstName":26,"lastName":27,"privateState":28,"biographyDate":29,"resume":30,"resumeEn":31,"resources":32,"catalogueSource":33,"manualUpdateDate":34,"documents":11,"photo":35,"copyrights":37,"slug":38,"hasArticles":39,"type":40,"hasWorks":41,"works":42,"hasBiography":41,"hasWorkcourse":39,"hasAnalyses":39,"hasBooks":39,"hasMonographs":39,"hasPartitions":39,"hasFloraAudios":39,"hasAudios":39,"hasVideos":39},"François","Dufrêne","valid","2019-11-25T00:00:00.000Z","Poète et plasticien français né le 21 septembre 1930 à Paris et mort le 12 décembre 1982 dans cette même ville.","French artist and poet born 21 September 1930 in Paris; died 12 December 1982 in Paris.","\u003Ch4 id=\"disco-biblio-filmographie\">Disco-biblio-filmographie\u003C/h4>\n\u003Ch5 id=\"livre-disque\">Livre+Disque\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>\u003Cem>Archi-Made\u003C/em>, Paris, École Nationale Supérieure des Beaux-Arts, 2005. « Préface » : Didier SEMIN.\u003C/li>\u003C/ul>\n\u003Cp>— Livre : intégrale des écrits de François Dufrêne.\u003Cbr>— CD : compilation sonore. \u003Cem>Haut-Satur\u003C/em> (2), \u003Cem>U 47\u003C/em> suivi de « Fausse route », \u003Cem>Appel à la révolte, Marche, Concertino pour hiver et printemps, J’interroge et j’invective\u003C/em> ; extraits de \u003Cem>Tombeau de Pierre Larousse\u003C/em>, de \u003Cem>Comptinuum\u003C/em>, de \u003Cem>Strophes en quête d’air\u003C/em>, de \u003Cem>Cantate des Mots Camés\u003C/em>, de \u003Cem>La Ressource du Petit Peuple\u003C/em> et d’\u003Cem>Un certain cimetière marin\u003C/em>.\u003C/p>\n\u003Ch5 id=\"publications-ant-rieures-tous-e-crits-de-dufre-ne-repris-dans-archi-made-\">Publications antérieures(tous écrits de Dufrêne repris dans Archi-Made)\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>\u003Cem>Tombeau de Pierre Larousse\u003C/em>, Dijon, Les Presses du réel, coll. « L’écart absolu », 2002. « 2 mots d’explication en 24 x 17 » (1976), « L’après-demain d’un phonème » [sous le titre erroné de « L’après-midi d’un phonème »] (1958), « Fausse route. Demi-tour gauche pour un cri automatique » (1953), « D’un pré-lettriste à l’ultra-lettrisme » (1958). « Entretien » (préface) par Michel GIROUD (1977) ; Alain FRONTIER, « La lettre et le cri » (avril 1985) ; Alain JOUFFROY, « Oreille pour un tombeau » (février 1961).\u003C/li>\u003Cli>\u003Cem>Cantate des Mots Camés\u003C/em>, Villeneuve d’Ascq, Musée d’Art Moderne, 1988. Reproduction des planches originales + transcription typographique. « Histoire d’une cantate et d’en dire deux mots » (1977).\u003C/li>\u003C/ul>\n\u003Ch5 id=\"publications-sonores-personnelles\">Publications sonores personnelles\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>\u003Cem>Œuvre désintégrale\u003C/em> [3 cassettes], Anvers, Guy Schraenen éd., 1976 ; rééd. Milan, Alga Marghen [4 LP], 2007 ; repris dans Alga Marghen / Guy Schraenen [3 CD+livret], 2010 : —1. \u003Cem>Crirythme pour un Double Anniversaire\u003C/em>, \u003Cem>La Guitare en long\u003C/em>, \u003Cem>PostcriRYTHMptum\u003C/em> ; \u003Cem>Osmose-Art. Köchel que j’aime, Osmose-Art. Le Cheval lié à l’Art Rose, Les joyeux Sisyphes\u003C/em> ; —2. \u003Cem>La Ressource du Petit Peuple\u003C/em> de + \u003Cem>Tenilom\u003C/em>, \u003Cem>Dit du Vieux Marin\u003C/em> ; \u003Cem>Belles nuisances, hantez nos nuits, Est-Ouest, Tête à Terre et Ventre au Ciel\u003C/em> ; —3. \u003Cem>Eryximaque\u003C/em> (\u003Cem>post-scriptum\u003C/em> au \u003Cem>Tombeau de Pierre Larousse\u003C/em>) ; \u003Cem>Séquences\u003C/em> ; extraits de \u003Cem>Comptinuum\u003C/em> ; \u003Cem>Sature, Nain ! I et II, Cacochyme, Crirythme pour Tinguely\u003C/em>.\u003C/li>\u003Cli>[cassette : compilation], Düsseldorf, S Press Tonband Verlag (Nikolaus Einhorn éd.), 1976 : \u003Cem>Pour la Montre et contre, Crirythme des Cocons cocontractant, Stress Man\u003C/em> ; \u003Cem>Paris-Stockholm II, Crirythme en rut\u003C/em>.\u003C/li>\u003Cli>\u003Cem>Cantate des Mots Camés\u003C/em> et six chansons [cassette], Paris, Centre d’Art et de Culture Georges Pompidou, 1977 ; rééd. Achèle (Wolman éd.), 1983, puis [CD], Frédéric Dufrêne éd., 2000.\u003C/li>\u003Cli>[CD : compilation], Paris, A.D.L.M., 2003 : « TOFEPP... » ; « ouverture » et « tango » du \u003Cem>Tombeau\u003C/em> ; \u003Cem>Suite proto-colère\u003C/em> ; \u003Cem>Crirythme dédié à Jean-Louis Brau\u003C/em> ; \u003Cem>J’interroge et j’invective\u003C/em> ; extraits de \u003Cem>Comptinuum\u003C/em>, de \u003Cem>Triptycrirythme\u003C/em>, de la \u003Cem>Cantate\u003C/em>, de \u003Cem>Strophes en quête d’air\u003C/em>, d’\u003Cem>Un certain cimetière marin\u003C/em>.\u003C/li>\u003C/ul>\n\u003Ch5 id=\"emissions-de-radio-enti-rement-consacr-es-fran-ois-dufr-ne\">Emissions de radio entièrement consacrées à François Dufrêne\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>\u003Cem>Dufrêne, mon œil\u003C/em>, « Atelier de Création Radiophonique » (Ralph Rumney), France-Culture, Office de Radio-Télévision Française : 23/6/1973. \u003Cem>Tambours du Jugement premier\u003C/em> avec, pour cette « projection » de référence, les voix de Marie-Françoise et Jacques Bordet-Lafosse, Ginette et François Dufrêne, Jacques Spacagna, Claude Torey, Gil J Wolman.\u003C/li>\u003Cli>\u003Cem>Le chant et Dufresne [sic]\u003C/em>, « Atelier de Création Radiophonique » (René Farabet, Alain Jouffroy), France-Culture, Radio France, 2/2/83 : en hommage posthume.\u003C/li>\u003C/ul>\n\u003Ch5 id=\"autres-uvres-sonores\">Autres œuvres sonores\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Pierre HENRY, \u003Cem>Le Voyage\u003C/em>, Philips, 1962, réf. 936 899 DSY (création du ballet de Maurice Béjart, le 29 avril, Cologne) ; repris dans \u003Cem>Mix Pierre Henry 02.0\u003C/em> : « Souffle I » et « II » à base d’improvisations de Dufrêne.\u003C/li>\u003Cli>OU [4 CD+livret], « complete recordings », Milan, Alga Marghen, 2002.\u003C/li>\u003Cli>Pierre HENRY, \u003Cem>La Noire à Soixante + Granulométrie\u003C/em>, Philips « Prospective 21e siècle », 1967, réf. 836 892/86 DSY (création le 16 nov., Bordeaux, « Sigma III ») ; repris dans \u003Cem>Mix Pierre Henry 01.0 + 04.0\u003C/em> : \u003Cem>Anti-Étude\u003C/em> (montage : Pierre Henry), « devenu sans raison » Granulométrie...\u003C/li>\u003Cli>Pierre HENRY, \u003Cem>Fragments pour Artaud\u003C/em>, Philips, 1970 (création le 21 mars, Royan), repris dans \u003Cem>Mix Pierre Henry 04.0\u003C/em> : partiellement à base d’improvisations de Dufrêne.\u003C/li>\u003C/ul>\n\u003Ch5 id=\"films\">Films\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Isidore ISOU, \u003Cem>Traité de Bave et d’Éternité\u003C/em> (1951) [DVD], Paris, éd. Re : Voir, 2008 : \u003Cem>Marche, J’interroge et j’invective\u003C/em>.\u003C/li>\u003Cli>Jacques BARATIER, \u003Cem>Le Désordre à 20 ans\u003C/em>, Argos films, 1967. Télé-diffusion : 1re chaîne, ORTF, 16/8/70.\u003C/li>\u003Cli>Adrian MABEN, \u003Cem>Mode d’emploi, les Nouveaux Réalistes\u003C/em> (1975) [DVD], Paris, éd. Montparnasse, 2007 : brefs extraits du « tango » du \u003Cem>Tombeau\u003C/em> + « Il y a un rapport évident... » (auto-définition) ; on y entend en outre, dans la séquence Tinguely, un très bref passage de \u003Cem>Recitativo all’italiana\u003C/em>, proféré à Milan, Piazza del Duomo, le 27/10/1970 (citation du film \u003Cem>Le dixième anniversaire\u003C/em>, de Pierre-André Boutang).\u003C/li>\u003C/ul>\n\u003Ch4 id=\"bibliographie-se-lective\">Bibliographie sélective\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Noël ARNAUD, « François Dufrêne, 1930-1982 » (suivi d’\u003Cem>Oulipo-Java\u003C/em>), \u003Cem>Les amis de Valentin Brü\u003C/em> n°22, Levallois-Perret, 1983.\u003C/li>\u003Cli>Jean-Pierre BOBILLOT, \u003Cem>Poésie sonore. Éléments de typologie historique\u003C/em>, Reims, Le Clou dans le fer, 2009, p.26-27, 58-59, 92-100 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Jean-Pierre BOBILLOT, \u003Cem>Quand éCRIre, c’est CRIer. De la POésie sonore à la médioPOétique\u003C/em>, Saint- Quentin de Caplong, Atelier de l’agneau éd., 2016, p.36, 65-80 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Marie CAZENAVE, « De l’Ursonate à la Cantate. Voix scénique, voix écrite et voix enregistrée chez Kurt Schwitters et François Dufrêne », GPS n°10 « Poésies expérimentales », Barjols, éd. Plaine Page, 2017.\u003C/li>\u003Cli>Henri CHOPIN, \u003Cem>Poésie sonore internationale\u003C/em>, Paris, Jean-Michel Place, 1979, p.97-100 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Cristina DE SIMONE, \u003Cem>Proféractions !\u003C/em> — \u003Cem>Poésie en action à Paris (1946-1969)\u003C/em>, Dijon, Les Presses du réel, 2018, p.230-233, 278-288, 344-353, 369-376 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Guilhem FABRE, \u003Cem>Poésie sonore et poétiques expérimentales de la voix au XXe Siècle\u003C/em>, thèse de doctorat, Paris, Univ. Denis Diderot, 2001, p.258-302 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Bernard GIRARD, \u003Cem>Lettrisme — L’ultime avant-garde\u003C/em>, Dijon, Presses du réel, coll. « L’écart absolu », 2010, p.24-25, 87-90, 93-95, 183-184 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Bernard HEIDSIECK, « François Dufrêne » (mai-octobre 1989 : 3’25), \u003Cem>Respirations et Brèves rencontres\u003C/em> [livre+CD], Romainville, Al Dante/Niok, 1999, p.36-37 + disque 1, piste 14.\u003C/li>\u003Cli>Bernard HEIDSIECK, \u003Cem>Notes convergentes. Interventions 1961-1995\u003C/em>, \u003Cem>Ibid\u003C/em>. 2001, p.137, 169, 171, 194, 271 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Isidore ISOU, « Les grands poètes lettristes », \u003Cem>Bizarre\u003C/em> n°32-33 « Littérature illettrée », Paris, éd. Jean-Jacques Pauvert, 1964.\u003C/li>\u003Cli>Arnaud LABELLE-ROJOUX, \u003Cem>L’acte pour l’art\u003C/em>, Paris, Les Éditeurs Évidant, 1988 ; rééd. Romainville, Al Dante, 2005, p.272-274 et \u003Cem>passim\u003C/em>.\u003C/li>\u003Cli>Céline PARDO, \u003Cem>La Poésie hors du livre (1945-1965). Le poème à l’ère de la radio et du disque\u003C/em>, INA / Paris, Presses Univ. de Paris-Sorbonne, 2015, p.316, 359-361, 365-370, 380-381.\u003C/li>\u003Cli>Didier SEMIN, « Le Palimpseste », préface à François Dufrêne. 5 novembre – 8 janvier 1989, Villeneuve d’Ascq, Musée d’Art Moderne, 1988.\u003C/li>\u003C/ul>\n","","2019-12-12T00:00:00.000Z",{"getUrl":36},"https://storage.ressources.ircam.fr/ressources/persons/photos/f9756d69-081c-4744-a232-4a77cbfcedff-thumbnail.jpg?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250922%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250922T223830Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=575b1f2a9566431fc14fbeb551907e5e44533961935aa2bb0fdbfa5394590563","Frédéric Dufrêne","francois-dufrene",false,"COMPOSER",true,[43,58,67,75,83,91,101,109,118,127,135,143,151,159,168,177,185,194,203,212,220,228,236,244,251,259,267,277,287,294,304,313,321,329,335,344,352,358,364,370,379,385,393,398,404,412,421,428,435,442,450,457,465,473,481,489,496,504,512,520,528,533,538,544,551,559,567],{"id":44,"slug":45,"title":46,"duration":47,"publishingStartDate":48,"publishingEndDate":48,"descriptionFr":49,"descriptionEn":50,"cardDescription":49,"style":51,"styleEn":52,"editor":11,"tags":53},"c2c136ce-b033-4261-bd60-72c7e5707c55","belles-nuisances-hantez-nos-nuits","Belles nuisances, hantez nos nuits",10,"1970-01-01T00:00:00.000Z","improvisation sur bande à partir de poésie vocale enregistrée","improvisation on tape based on recorded vocal poetry","Musique électronique / sur support / instruments mécaniques (Musique électronique / sur support / instruments mécaniques)","Electronic music / fixed media / mechanical musical instruments (Electronic music / fixed media / mechanical musical instruments)",[54,56],{"label":55},"Électronique",{"label":57},"Performance",{"id":59,"slug":60,"title":61,"duration":11,"publishingStartDate":62,"publishingEndDate":62,"descriptionFr":49,"descriptionEn":63,"cardDescription":49,"style":51,"styleEn":52,"editor":11,"tags":64},"f2d1e9b9-80ef-465c-a97f-1fe13e7dd8d2","crirythme-a-l'indicatif-passe-compose","Crirythme à l’indicatif-passé composé","1980-01-01T00:00:00.000Z","improvisation on tape from recorded vocal poetry",[65,66],{"label":55},{"label":57},{"id":68,"slug":69,"title":70,"duration":11,"publishingStartDate":71,"publishingEndDate":71,"descriptionFr":49,"descriptionEn":63,"cardDescription":49,"style":51,"styleEn":52,"editor":11,"tags":72},"2f48a99d-777d-47df-8377-3a0331d98ad4","crirythme-des-cocons-cocontractant","Crirythme des Cocons cocontractant","1967-01-01T00:00:00.000Z",[73,74],{"label":55},{"label":57},{"id":76,"slug":77,"title":78,"duration":79,"publishingStartDate":71,"publishingEndDate":71,"descriptionFr":49,"descriptionEn":63,"cardDescription":49,"style":51,"styleEn":52,"editor":11,"tags":80},"20e5fb64-c473-4674-b56c-80b5afa94c6a","dedie-a-henri-chopin","Dédié à Henri Chopin",3,[81,82],{"label":55},{"label":57},{"id":84,"slug":85,"title":86,"duration":87,"publishingStartDate":71,"publishingEndDate":71,"descriptionFr":49,"descriptionEn":63,"cardDescription":49,"style":51,"styleEn":52,"editor":11,"tags":88},"b74fc83d-24ed-4741-929e-111780787f00","est-ouest","Est-Ouest",8,[89,90],{"label":55},{"label":57},{"id":92,"slug":93,"title":94,"duration":79,"publishingStartDate":95,"publishingEndDate":95,"descriptionFr":96,"descriptionEn":97,"cardDescription":96,"style":98,"styleEn":99,"editor":11,"tags":100},"61c3cff9-e5c1-42d1-bda4-1ca2421f5080","suite-proto-colere-a-l'ouverture-sans-fin.-p.s.-au-t.p.l.","Suite proto-colère à l’Ouverture sans fin. 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