There are two artists named Nicolas Bernier: 1) Nicolas Bernier (28 June 1664 – 5 September 1734) was a French Baroque composer. He was born in Mantes-sur-Seine (now Mantes-la-Jolie), the son of Rémy Bernier and Marguerite Bauly. He studied with Antonio Caldara and is known for an Italian-influenced style. After Marc-Antoine Charpentier he is probably the most Italian-influenced French composer of this era, and replaced Charpentier as maître de musique des enfants (master of choristers) at the royal Sainte-Chapelle in 1704. He died in Paris. "French composer, harpsichordist, theorist and teacher. He probably learnt music in the maîtrise of the collegiate church of Notre Dame, Mantes, and in that of Evreux Cathedral. According to the Etat actuel de la Musique du Roi (1773) he then studied with Caldara in Rome. In 1692 Bernier was living in the rue Tiquetonne in Paris and was teaching the harpsichord. On 20 November 1693 he failed to win the post of maître de musique at Rouen Cathedral in competition with Jean-François Lalouette. He was appointed head of the maîtrise of Chartres Cathedral on 17 September 1694 and remained there until 18 March 1698, when he obtained a similar position at St Germain-l'Auxerrois, Paris. A Te Deum performed before the king at Fontainebleau on 24 October 1700 was very successful, and was sung again in several Parisian churches in 1701 and 1704. On 5 April 1704 he succeeded Marc-Antoine Charpentier as maître de musique of the Sainte-Chapelle, resigning from this post on 18 September 1726 in favour of his friend François de La Croix. It had taken the patronage of Philippe, Duke of Orléans, for him to keep the position after his marriage to Marie-Catherine Marais on 20 June 1712, since the rule of the Sainte-Chapelle required its maître de musique to be ‘a celibate in clerical garb’. In spite of Le Cerf de La Viéville's claim, Bernier was not an abbé, but only an acolyte entitled to wear the clerical collar. In 1715 he took part in the divertissements organized by the Duchess of Maine at her château of Sceaux. In January 1723, at the request of the regent, Michel-Richard de Lalande gave up three of his four trimestrial periods of duty as sous-maître de musique at the Chapelle Royale. The posts thus created were allotted, without being thrown open to competition, to André Campra, Charles-Hubert Gervais and Bernier, who officiated during the summer term of duty until his death. In 1726 Lalande's term became vacant when he died, and was shared between the remaining sous-maîtres, with Bernier taking charge of the education of the Chapelle pages until 1733. He was in fact famous as a teacher. He wrote a treatise entitled Principes de composition and numbered Louis-Claude Daquin among his pupils. Bernier offered a personal solution to the union of French and Italian tastes. He achieved equilibrium between the two styles in his first book of French cantatas, a genre of which he was one of the first creators together with Jean-Baptiste Morin. Vigorous recitatives and da capo airs, with or without an initial motto, follow each other freely, while the expressive melody, with few wide intervals or long melismas, is rooted more in the French tradition. Les nuits de Sceaux contains Bernier's only instrumental pieces: dances and two overtures which adopt the Lullian structure but are italianate in style. The 45 petits motets, the 36 grands motets and the 39 cantatas exhibit a stylistic feature peculiar to Bernier: the often systematic repetition of a motif, whether or not it is transposed. Bernier had a reputation as a contrapuntist, and the polished writing of fugal choruses in Beatus vir and Confitebor tibi Domine bear witness to his skill. Two of his grands motets were sung several times at the Concert Spirituel from 1725 onwards. Most of his Principes de composition is devoted to two-part counterpoint; the work resembles the treatises of Nivers and Masson." 2) The music of Nicolas Bernier is somewhere between the old and the new. It is made with a modern apparatus but feels like completely handmade. It is gently articulated textures alongside enormous masses. It is electronic music made from objects of the past: typewriter, old machines, tuning forks, soundscape memorys and, yes, musical instruments. Bernier is joyfully flowing from musique concrète to live electronics, installations, art video, modern music, post-rock, ambient and glitch while also working with dance, theatre and cinema. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing. His works have been of interest for events like Prix Ars Electronica (Austria), SONAR (Spain), Mutek (Canada), DotMov Festival (Japan), Transmediale (Germany) and have been published on lovely labels like Crónica (Portugal), Ahornfelder (Germany), leerraum (Switzerland) and Home Normal (United Kingdom).