Fabien Lévy came to Columbia University in the fall of 2006. He previously taught orchestration to composition students at the Hochschule für Musik Hanns-Eisler in Berlin (Germany), and computer music at the Sorbonne University in Paris (France). He also worked at the IRCAM Institute, first in the research department, then as pedagogical advisor. Fabien Lévy studied composition with Gérard Grisey at the Conservatoire National Supérieur de Musique in Paris, as well as analysis with Michael Levinas, ethnomusicology with Gilles Leothaud and orchestration with Marc-André Dalbavie. He received a Ph.D. in musicology from the École des Hautes Études en Sciences Sociales and a master's in mathematical economics (ENSAE & ENS Ulm).
His works, published until 2007 by Billaudot and now by Ricordi Germany, have been performed across Europe, Asia, Africa and America by ensembles and soloists including L'Itinéraire, the London Sinfonietta, the Ensemble Modern of Frankfurt, the Tokyo Symphony Orchestra and the Berlin Radio Symphony Orchestra. His music has received several awards, including a 2001 DAAD Artist-in-Residence Program Berlin, a 2002 Rostrum of Unesco, the 2003 French Rom prize in the Villa Medici, and the 2004 Siemens Prize for composers.
"Form, Struktur und sinnliche Erfahrung", in Musiktheorie 3/2007, (Laaber-Verlag, 2007).
"Notre notation musicale est-elle une surdité au monde?", in Ethique et significations, La fidélité en art et en discours, (Bruylant, 2005).
"When the Computer Enables Freedom from the Machine (On an Outline of the Work Hérédo-Ribotes)", in The OM Composer's Book (Ircam/Delatour, 2006)
"Le tournant des années 70: de la perception induite par la structure aux processus déduits de la perception," Le temps de l'écoute: Gérard Grisey ou la beauté des ombres sonores (L'Harmattan/L'Itinéraire, 2004)
"Fascination du signe et de la figure remarquable en analyse musicale," Acts of the 2nd International Conference of Musical Epistemology (L'Harmattan/L'Ircam, 2002)
"Gérard Grisey, eine neue Grammatologie aus dem Phänomen des Klangs," in 20 Jahre Inventionen Berliner Festival Neuer Musik (DAAD/Pfau Verlag, 2002)
"L'écriture musicale à l'ère du numérique," in Culture & Recherche 91-92 (Ministère de la Culture, 2002)
"Plaidoyer pour une oreille subjective et partisane. Une approche 'pythagoricienne' de la perception culturelle des intervalles," in Cahiers des philosophies du langage 3, (L'Harmattan, 1998)
Pour orchestre, for big orchestra (2008)
Lèxèmes hirsutes, for solo cello (2007)
Tre volti del volubile Ares, for professional brass band (2006)
Les murmures d'une orchidée solitaire, for 2 Chinese guqin, Chinese flutes, Hammond organ, harp, violin, cello (2004)
Risâla fî-l-hob wa fî'lm al-handasa ("Small Treatise on Love and Geometry"), for flute, cello, saxophone, violin, violoncello (2003)
Soliloque sur [X, X, X et X], commentaries from a computer about a concert misunderstood by him (2002)
Hérédo-Ribotes, for viola solo and 51 orchestra musicians (2001)
Coïncidences, for 35 musicians (1999)
Durch, in memoriam G. Grisey, for saxophone quartet (1998)
L'air d'ailleurs-Bicinium, for sax and tape (1997)
Les deux ampoules d'un sablier peu à peu se comprennent, for solo harp (1996)
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