Rémi Gousseau’s music « has the faculty of being perfectly accessible to wide audiences while being very original and uncompromising, which is unusual in these days in contemporary art ». (Jenö Rehak about Rémi Gousseau’s music)He was born into a family of musicians. His grand-father William Gousseau, was a Choirmaster at the church of Saint-Nicolas-du-Chardonnet between 1893 and 1938. His grand-mother, Fanny d’Almeida, a pianist was a student of Elie Delaborde and a composer in her youth. His aunt, Lélia Gousseau, was a hugely talented concert pianist. She was admired by the greatest conductors such as Munch, Mitropoulos,Paray and many others.She taught wonderful pianists at the Paris Conservatory : Anne Queffelec, Anne Makarenko, Pascal Devoyon and Emile Naoumof. to name a few. With this musical start in life, Rémi Gousseau studied cello, harmony, counterpoint and fugue in Rouen, Strasbourg and then Paris under the direction of André Lévy, Reine Flachot, Robert Duval, Jean Deplace, Henri Challan, René Weber and Ginette Keller among others. At the same time he practiced church singing especially with Canon Gaston Roussel in Port-Marly and in the chapel of the Palace of Versailles and lastly with the Reverend Father Emile Martin, from the Oratory in Saint Eustache church in Paris. But, very soon, his talent and his nature led him to composition and conducting which he studied with Sébastien Béreau then Pierre Dervaux. He also received  advice from Seiji Ozawa and Maurice Ohana. He was very young, only 22, when he became the Director of the Darius Milhaud Conservatory in Paris. At the same time he was Choir-master at Radio France and Associate Director of Saint-Eustache Choirs. Following this, he was named Choir-master at the cathedral of Digne-les-Bains and then created the Christian Art International Festival in the same town. Then he became the Director of the Philarmonic Orchestra of France. With this orchestra he recorded the Brandenburg Concertos by Bach  which led him to be awarded  a Laser d’Or. He also recorded the Ninth and the Seventh Symhonia by Beethoven which were given great acclaim by the critics. Thereafter he was invited by numerous orchestras and choirs in many countries  : Krakow Radio Orchestra, Warsaw Philarmonia Choirs, Saint Petersburg a Cappella Orchestra, Lithuania State Symphony Orchestra, Sofia Philarmonic Orchestra and Choir,  Bohemian Symphony Orchestra Prague, Moscow Kremlin a Cappella Choir, Cannes-Provence-Côte-d’Azur Orchestra, Avignon Opera Orchestra, Versailles Chamber Orchestra. Throughout his career he has accompanied International soloists. In 1992 he met Philippe de Villiers through Dominique Souchet and then decided to work on the the musical development of the Vendee, a region whose story he knows thanks to his parents who taught him the tragedy of this martyred people. As Composer-in-Residence he composed one work per year for the Vendee. But he also created  a Departemental choir and orchestra as well as a choir in the Catholic University of the Vendee, better known as ICES. He also took part as a conductor in some events at the Puy du Fou. Then, lastly he was the Artistic Director of the « Nocturnes océanes » in Luçon.  In 2000 he wished to take up again French religious musical tradition of which he is an heir. He wanted to pass it on. So  he became the Choirmaster of the Maîtrise Saint Louis de Gonzague in Paris, associated with the famous  Jesuit college of the same name, better known as « Franklin ». With the « Maîtrise » he produced a memorable recording of the Requiem by Fauré, as well as vocal works by Joseph Bonnet, twenty Motets by Saint-Saëns, a musical Rosary, ten famous Ave Maria and a mass by Leo Delibe. In 2003 he created the « Estivales de Puisaye » that celebrated this year its seventeenth  anniversary. In 2016, after a medical accident he stopped managing the « Maîtrise » and the « Estivales de Puisaye » in order to dedicate himself wholeheartedly to composition. He didn’t forget the origin of his composer’s vocation. Indeed, considering his past as a young church singer and after a stay in Sainte Anne de Kergonan abbey in which he lived to the rythms of gregorian chants according to the interpretative principles of Solesmes abbey, he willingly assumed the heritage of a sacred musical tradition that he cared about : his grand-father was a pupil of Niedermeyer school. It must be the reason why in the field of sacred music he’s considered as one of the most talented and creative of his generation. Even so, he progressed to an interest  in all, or almost all musical genres. But in 1987 Rémi Gousseau had already decided to spend more time on composition when his Mass for male voices interpretated by the French Army Choir in the church of La Madeleine in Paris was  triumphantly received by the audience. From this moment on he spent long periods in La Puisaye in the family home in Nantou in order to concentrate on his art. He was then commissionned to write many works that were succesfully received by  audiences as well as by  musicians and  singers. Moreover, Rémi Gousseau, an eclectic mind, has a passion for intellectual life, particularly theology which he  studied for many years.