Composing for radio drama has been one of the finest forms of training I could have received as a composer. At once demanding and completely free, these radio fictions are created with remarkable respect for — and attention to — the creative act, with no limitations other than the short time available. I had the immense good fortune of meeting the director who first introduced me to this world: Jacques Taroni. He was my neighbor, and after hearing me play the piano every day, we once crossed paths on the staircase. He said: “Hello, would you be interested in composing for the radio? We’re producing King Lear with Michel Galabru — would you like to write the music?” We never stopped working together after that, right up until his passing. He was also the reason I met the writer Nancy Huston, with whom I created new works and performed many concerts. Among the most extraordinary experiences are all the fictions produced by Alexandre Plank, particularly the “concert-fiction” productions: The War of the Worlds, Fahrenheit 451, and the concerts at the Musée Calvet during the Avignon Festival. It was also thanks to the creation of Treasure Island as a concert-fiction that I was able to write my first compositions for symphony orchestra, performed by the excellent Orchestre National de France with the wonderful Sara Nemtanu. And finally, the trilogy by Jón Kalman Stefánsson — an immense journey into his work alongside director Laurence Courtois: more than two hours of music for string quartet, piano, nyckelharpa, and voice. A heartfelt thank-you to Blandine Masson, who worked tirelessly over the years to keep this singular and rich artistic form alive.