Clément Walker-Viry
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A multidisciplinary artist, Clément Walker-Viry is a composer, keyboardist, and performer with many facets. Trained in classical piano from an early age, he quickly developed a taste for improvisation, composition, and sound exploration. His career spans a wide range of worlds — from film music to the theatrical stage, from songwriting to modular synthesis. His work lies at the crossroads of classical, electronic, and experimental music, in a constant dialogue between composition and improvisation, machines and acoustic instruments.

At the age of 16, Clément was awarded a regional first prize in piano, followed by an honorary prize at the Brin d'herbe International Competition in Orléans. Alongside this demanding classical training, he soon opened himself to other musical languages: jazz, contemporary music, composition, and orchestration. From 2014 to 2017, as an artist-in-residence at the Académie Musique Vivante, he presented more than a dozen original works, anchoring his practice in a dynamic of contemporary creation.

In parallel, he has distinguished himself in interdisciplinary collaborations, composing for the theatre — notably at Théâtre du Rond-Point in Pierre Notte's productions (L'Effort d'être spectateur, Je te pardonne – Harvey Weinstein) — and creating original film scores for directors from La Fémis and ENSAD.

Clément also explores a more intimate universe through songwriting and electronic music. His debut album Maudit Mirage, released in 2021, blends synth-pop, ambient textures, and poetic writing.

Commissioned by Le Concert de l'Hostel Dieu, he composed a series of works for solo cello and looper. Performed by Aude Walker-Viry, these pieces were presented as part of Movimento, a multidisciplinary show combining hip-hop dance and Baroque music. This project offers a choreographic and musical variation on the theme Bach and Movement. In this approach of bringing together acoustic instruments and sound technology, Clément develops an ambitious research path on integrating sound synthesis into classical and Baroque repertoires. He explores the expressive potential of electronic instruments — in particular, the Osmose synthesizer by Expressive E — to re-orchestrate and compose works at the boundaries between concert and electronic performance. This interplay between registers, far from being confined, becomes a constant and vital source of inspiration.