Clément Petit is, first and foremost, an avid cellist hungry for now sounds and artistic encounters. He is eager for collaborations and new musical contexts, and enjoys mixing things up to throw the listener off-guard with his eclectic creations. He is one of those musicians constantly seeking to reinvent their instruments by developing techniques, using new musical languages and rewriting the rules. Raised in a diverse and community-based Parisian suburbs, he would be immersed in a world of Afro-American, Caribbean and electronic music, before throwing himself into contemporary and improvised music. Petit’s vision of music is very large, he would claim these influences as his own and as such he has his own highly personal sound: he knocks down the walls of genre and allows the many different sounds to mingle and interact freely. Whether it be as a cellist or as a composer/arranger/producer, it’s within this optic that he undertakes his projects (Roseaux, Space Galvachers, Le Banquet…) or collaborates with different artists (Blick Bassy, Oumou Sangare, Ray Lema, Fidel Fourneyron, Angélique Kidjo, Nicolas Jules, Ala.ni, Mélissa Lavaux, Pierrejean Gaucher...), diversifying formats and experimenting with all sonic aesthetics without discrimination.
Clément Petit regularly gives Master-classes all over France on various themes: improvisation, jazz, or reinventing pop standards.
Album « IMMATERIEL », 2017 /// SPACE GALVACHERS: Trio Drums, Violin, Cello & electronics /// Roseaux: Keyboards & guitars, Cello, Voice /// Le Banquet: String quartet /// AKÖ / A tribute to Skip James: Guitar & voice, Cello & banjo, Trombone /// Crève-Silence: Voice & Guitar, Cello & Keyboards /// OFF THE GRID: Drums, Cello, Sax Baritone
After studying the trumpet (national conservatoires of Reims and Paris) and writting (national conservatoire of Reims), William Dongois teaches this instrument and has as well an intense musical activity. He initiate to the cornetto with Jean-Pierre Canihac, then with Bruce Dickey at the Schola Cantorum Basiliensis. He has played and recorded for various bands. He leads Le Concert Brisé ensemble. “Diapason” awarded “La barca d’amore” recording (Carpe Diem, 1998, reissued Accent, 2009) with “five diapasons”, acknowledging “an outstanding performer” and “a precious guide on the way of an assumed period style”. Craig Zeichner (« Early Music America », 2011) writes about the live recording of the sonatas of Pandolfi-Mealli (Carpe Diem, 2010): “Dongois is stunning and plays with a fluid and precise timbre utterly irresistible, a timbre that can be clear and bright, but as well smooth like Miles’”. Two of the latest recordings of Le Concert Brisé, dedicated to Bertali (ACC 24260) and Scheidemann (ACC 24302) received a “golden diapason” (2014 and 2016). He collaborates with the instrument manufacturer Henri Gohin. William Dongois teaches improvisation during Master-Classes in various European institutions of higher education in music. He teaches the cornetto at the Haute École de Musique (HEM) of Genève.
2006 : Méthode d’improvisation et de diminution – Apprendre à improviser avec la musique ancienne (éd. Color & Talea, Symétrie).
2014 : Article « Gibt es ein idealen Klang des Zinken für die Kirche, in Über den Klang aufgeklärter Frömmigkeit, Retrospektive und Progression in der geistlichen Musik, Michaelsteiner Konferenzberichte », N°78. Wissner Verlag, Augsburg.
2014 : « L’apport de la recherche pour un musicien instrumentiste : écho de la séance du 4 avril 2014 du séminaire du Conservatoire de Paris », La Revue du Conservatoire, N°4.
2014 : Semplice ou passegiato (Droz). Book dedicated to the art of diminution, Ouvrage consacré à l’art de la diminution, as a result of the research project initiated in the HEM Genève « IMPROPAL ».
Research project around Mersenne : upcoming publications presenting diminution in l’Harmonie universelle (1636).
2015 : Article « Für eine Erneuerung der Cornettino-Praxis, in Der Zink-Geschichte, Instrumente und Bauweise, Michaelsteiner Konferenzberichte », Wissner Verlag, Augsburg, N°79.