Création en cours

Composition contest!


Voix et instrument(s)

Video clip
Contact diffusion


Celebrating live music

In order to highlight the Cavaillé-Coll Great Organ of Saint-Sulpice Church in Paris, a composition contest for great organ and for organ and choir has been organized in collaboration with AROSS. The competition will offer composers the opportunity to compose a work in one or the other, or both of the following categories: - great organ - choir organ & voice. The works preselected by an international jury will be rewarded with a printed edition, an award and will be interpreted by professionals during a public final in Saint-Sulpice in November 2021, which will be broadcast in a live screening and on the internet.

SEQUENZA 9.3 joins this competition to interpret the 4 award-winning works selected for the final under the direction of Catherine Simonpietri, and to register and broadcast new works highlighting her attachment to creation, to the organ and to the organist composers ever since the Ensemble came into being.
The jury under the presidency of Philippe Hersant will be composed of :
Kaija Saariaho, composer (Finland)
Martina Batič, musical director of the Radio France Choir (France)
Estelle Lowry, Director of the Maison de la musique contemporaine (France)
Yves Castagnet, organist (France)
Bernard Foccroulle, organist and composer (Belgium)
Thomas Lacôte, organist and composer (France)
We are still looking for financial support to complete the funding of this project and for partners to organize the diffusion of the works. Do not hesitate to contact Claire Leroux at or to participate in the crowdfundingproarti platform (
All information on the AROSS website >
The word "organ" has two different meanings : a musical instrument and an organ of the body. The true lung of music, the sound of the organ has no end; it evokes the idea of the immutable, the lasting and eternity. Don't we say in music the "point d'orgue" (pause, climax, culmination)?
Born well before the Christian era, it is the breath of humanity, it is for me the gigantic choir of our planet.
Thus, the fused collaboration of song and organ has been one of the privileged axes of Sequenza 9.3 since its origins.
Since its creation, I have also chosen to orientate the artistic journey of my vocal ensemble around the rediscovery of the twentieth century repertoire and the creation with numerous commissions to composers of very varied aesthetics. "
Imagining a composition contest with AROSS is part of an obvious continuity after twenty years of the creation of Sequenza 9.3. We will thus be able to offer today's creators the opportunity to write for a unique instrumental heritage and Sequenza 9.3, whose artistic standard is undeniable.