Christophe Fellay is a sound artist, musician, composer and performer living in Switzerland. He has composed music for orchestras, string ensembles, string quartet, chamber orchestras, jazz ensembles and solo instruments. He made several interdisciplinary works as well as sound installation and performances. His own artistic area focuses on acoustics, architecture and interaction between human and machines.

His work has been performed internationally in London, Edinburgh, Paris, Montreux, Copenhagen, Zürich, Geneva, New York, San Francisco, Seattle, Atlanta, Buenos Aires, Santa Fé, Johannesburg, Pretoria, Cape Town and Windhoek. He has been artist in residence at the Red House in New York, Steim Institute in Amsterdam, Swissnex and Exploratorium in San Francisco.

Christophe has a Master degree of Art in Music obtained at the Montreux Conservatory, Jazz Department and is currently working on a PhD research in music and performance at the Brunel University London. He gave lectures, seminars and masterclasses at Brunel University, London, Edinburgh University and Tswanee University Pretoria among others.

Christophe teaches at Ecole Cantonale d’Art du Valais – ECAV, sound department where he is in charge of research. He gives music lessons for the dance department at Sion Conservatory of music.


Christophe Fellay est un artiste sonore, musicien, compositeur et performer qui vit en Suisse. Il a composé pour ensembles de cordes, quatuor à cordes, orchestres de chambre, ensembles jazz et instruments solos. Il a participé à de nombreuses collaborations interdisciplinaires avec des installations sonores et de la performance. Ses recherches artistiques l’ont amené à s’intéresser à l’acoustique, l’architecture et l’interaction entre l’humain et la machine.

Ses oeuvres ont été jouées internationalement à Londres, Edinbourg, Paris, Montreux, Copenhague, Zürich, Genève, New York, San Francisco, Seattle, Atlanta, Buenos Aires, Santa Fé, Johannesburgh, Prétoria, Cape Town et Windhoek. Il a été artiste en résidence à la Red House de New York, au Steim Institute d’Amsterdam, à Swissnex et à l’Exploratorium de San Francisco.

Christophe a un Master en art, musique, obtenu au Conservatoire de Montreux, Section Jazz, et travaille actuellement à une recherche doctorale en musique et performance à la Brunel University de Londres. Il a été invité à donner des séminaires et masterclasses à la Brunel University de Londres, à l’université d’Edinbourg ainsi qu’à la Tswanee University de Pretoria. Il est responsable du département Art Sonore à la haute école d’art du Valais: ECAV, et est responsable de la formation musicale des danseuses pré-professionnelles du Conservatoire Cantonal.




“Fellay is an accomplished musician, coaxing percussive conversations out of his kit, as well as chimes, tympani-like rumbles and massive tidal boomings as he creates a clamorous soundscape.” - Jim Gilchrist, The Scotsman

“Imagine jazz, stripped of everything but the drums. Various percussion, loop pedal, synthesisers and amps are used to create a sound so strange, rhythmic and hypnotic it is difficult to be unmoved.” - Pete Speight, Three Weeks

“He scrapes drum skins with a microphone, looping the sampled sound into the beat, he scrunches bubble wrap and deploys swathes of electronic sound which, at one point, suggest he has been doing unspeakable things to the innards of a piano.” - Jim Gilchrist, The Scotsman

“Fellay adopts the recently deceased Max Roach's concept of the drum kit as a string quartet and by using a microphone and triggered electronic effects he creates a series of pictures in sound that can, admittedly, drag in places but is also musical and at times quite emotional.” - Rob Adams, The Herald

“Christophe Fellay's percussion extravaganza might only appeal to a niche audience because it sounds so alien at times, but if it can touch you, this could be the soundtrack to an hour of your life.” - Pete Speight, Three Weeks

“This is all pretty clever stuff, with plenty of light and shade - the couple next to me were enthusing knowledgeably about his cymbal technique as they left …” - Jim Gilchrist, The Scotsman