One day I said to myself that it would be nice if a concert was not just a little parenthesis in our life, but a part of it, a constituent part. To achieve this, I need the audience to literally live in the concert, just like one lives in a city or a home. The first tool at my disposal was time: I decided that the longest time that the average human being can take without interruption is ten hours.

To make these ten hours as liveable, not to say as agreeably liveable as possible, I built fifteen deck-chairs with speakers on the back and a mini-quadriphonic system around the area of the head.

The ten hours score remained to be written. It now exists in two versions: a solo version, with an one and only musician playing numerous interments for ten hours, accompanied by the electronic; and a version for big and free ensemble, with musicians entering the piece as it goes along, until they are as many as the audience.

First, it was a three hours version of this second version that was premiered at the collège (secondary school) de Burier (Switzerland) in 2007 by a bunch of professional musicians and numerous pupils of the school. Then in March 2010, the solo version was entirely premiered at the théâtre du grütli (Geneva) by Christophe Schweizer playing the double bass, the trombone, the sousaphone, the percussions and the voice. The scenography was signed by Delphine Rosay.


The presentation of the installation by Brice Catherin (camera: Fabio Visone).

Port-Folio of the installation or the solo version by Fabio Visone.	Port-Folio of the concert solo version by Christophe Schweizer, Delphine Rosay and Claudia Mendoza.	A page of "my piece with something like hope in the end".	The electronic part of the first part of "my piece with something like hope in the end".
The poster of the ensemble version by Ibn Al Rabin	Port-folio of the ensemble version by Patrick Marmy	An article from the 24H about the ensemble version.	flyer for the solo version by Fabio Visone.

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