Les Indociles, concerto for violin and orchestra


This concerto is a free, short and compact form. I wanted to emphasize the voice of the soloist (his vibration), by the simplicity of writing, rather than the virtuosity. The composition of this concerto was spontaneous. Within a few days, I wrote the solo part. In parallel, I have annotated some indications for the orchestra (mass, movement, rhythm, sound). The second stage of composition was the development of the orchestral part. The violin is the thread that unites the whole work. The orchestra is more than its echo, it is another entity, composed of another texture. This concerto was written in April 2011, in the political context of the Arab Spring. The violin is the voice that is not silent, which face the time.

A beautiful Concerto composed by the young Avignonnais (…) superb !! (Jacques Freschel)

An affirmed writing, without hesitation. The audience does not sulk, he adheres, enthusiasm even for this new score and ovations this young composer (Jocelyne de Nicola)

Press quote


Diabolic violin

Nemanja Radulovic wears an atypical garment of Gothic rocker to the absolute dark … until his long curly mane crowning a prince of the bow !

The new star crowned with the “Victoires de la Musique 2014” is animated by a bit of madness, the one needed to ignite the crowd … and set fire to one of the most famous scores of Khatchatourian: his Concerto (1940), finial of the repertoire for violin, powerful, virtuoso…

In this exercise, all in suspense, expressions of a vigorous lyricism, the Franco-Serbian established a space of complicity with the Marseille Philharmonic Orchestra conducted by the young head Eun Sun Kim, the first measures with the disheveled cadence…

It is a little by walking on eggs that the musicians also played, in world creation, a very beautiful Concerto composed by the young Avignonnais, trained at the conservatory Pierre Barbizet : Lionel Ginoux. The universe of this composer, possessing a sense of sound width, is not light : his unity of tone is dark, tragic. The opus proceeds in successive phases, revealing little by little an expressive architecture with the colorful texture. A slow thematic exposition, chromatic, stands on a weft of ropes, rolling timbales in the background of a painting with painful contours. From this arises an ample meloic phrase ! One goes from fixed, serene, disturbing processes towards explosions where the pulsed and redundant dynamics support the rise of a macabre dance to the climax well brought up to the cry of the violin Radulovic, in the suraigu, tempting in vain to survive the orchestral thrust : superb!
Jacques Freschel




The Marseille Opera House, on this Sunday afternoon, had invited us to a fairly original concert, and the public was not mistaken by coming very many to attend. It is therefore in front of a full hall that the violinist Nemanja Radulovic, would play, interpret, or rather live the concerto for violin and orchestra of Amram Khatchatourian. It was quite interesting to hear this young violinist just a few months after he was nominated for the Victoires de la Musique classique, especially since he was also going to create for us the Lionel Ginoux’s violin concerto. Last particularity, this concert was going to be directed by a woman, made rare enough to be notified. The Marseille Opera House likes to create surprises.(…)

The second part began with the creation of Lionel Ginoux, Les Indociles, played on the violin by Nemanja Radulovic. Lionel Ginoux is a young composer born in Avignon in 1978; After studying from Valenciennes to London, he completed his first prize in composition at the Music National Conservatory of Marseille, in 2004, with the unanimous prize of the jury, and the Prix Sacem. Although he has done scientific studies in sound engineer, he devotes himself to composition and, quite rarely, succeeds in living it.

Highly impressed by composers such as Philippe Hersant, Henri Dutilleux, or George Benjamin, he keeps his own style, influenced by his emotions, based on rhythms and sounds. Without a priori, it can as well be infused by Jazz, as by popular music.

His works go in different directions with works written for voice, for solo instruments or for orchestra or chorus. It is played in France : Avignon, Montpellier (Radio France), Marseille, among others, but also abroad, Holland, United States. His piece, Les Indociles, for violin and orchestra, performed here by Nemanja Radulovic, was composed in April 2011, at the dawn of the Arab Spring, it is a tribute to courage and voices who do not want to be silent. The floor is given to the violin solo which makes its voice heard, the voice of the people. The colors here also play their role, the colors of the desert, the immensity.

This work was not a commission, it is the fruit of an inspiration of the moment. The score for orchestra uses many instruments, strings, small harmony and brass, but also percussion instruments, bass drum, snare drum, toms, bongos, for which he writes complex rhythms.

The tone is given from the beginning of the work by a roll of timpani played piano. The strings create strange atmospheres and the solo instruments are there to make bursts of light burst forth. It is very well written, and one can fully feel the impressions wanted by the composer. A few dissonances, as created by the crowd, and a repetitive pattern played by the violins as a fixed idea that returns never covers the solo violin which, throughout this concert will make its voice more or less serious, more or less plaintive, but always with this wide generous sound that knows how to enter the sounds of the strings, avoiding to cut the tensions. One feels an affirmed writing, without hesitation, which, like the voice of the people, pursues its course without regret and without backtrack.

As for the Khachatourian concerto, one feels Nemanja Radulovic invested in what he plays, his game is never outside. Each note is part of him, and this music he creates, he understands and lives it. The public does not sulk, he adheres, enthusiasm even for this new score and ovates this young composer who deserves the Bravos collected; A fine reward for Lionel Ginoux.
Jocelyne de Nicola


2 flutes (with one piccolo)
2 oboes
2 clarinets in sib 
2 bassoons
2 horns in fa
2 trumpets in sib
1 percussion
violins I (7 ou 12)
violins II (6 ou 10)
violas (5 ou 6)
cellos (4 ou 6)
doublebasses (2 ou 4)


duration 18′

premiere 23 march 2014, Marseille Opera House, Nemanja Radulovic violon, Marseille Philharmonic Orchestra, Eun Sun Kim conductor