samedi 15 mars 2014

Jean-Thiérry Boisseau - Through the looking-glass


Jean-Thierry Boisseau

The son of the famous French Organ Builder, Robert BOISSEAU, Jean-Thierry BOISSEAU grew up surrounded by music and musicians. His studies with the Titualire Organist of the Cathedral of Poitier, Jean-Albert VILLARD, gave him a solid base in improvisation, harmony, counterpoint and musical culture. His work with Antoine TISNÉ was decisive towards forging his own personal compositional style. Highly charged contrapunctally, with en extended tonal musical vocabulary, Jean-Thierry BOISEAU is especially interested in exploring the World music tradition into his highly structured musical universe.
His works have been commissioned by the Saxophonist Paul Wehage, the pianist Moruyu Maeda, the American Soprano Sheila Harris-Jackson and the XAS saxophone Quartet.The spring of 2001 was marked by the première of his musical for chldren "The Clown Who Lost His Laugh", written for the City of Lagny sur Marne on the ocassion of the Year of the Circus in France.
Jean-Thierry Boisseau is also interested in creating cultural exchange, with notably a musical project which he imaged with the French Embassy in Baku, Azerbaidjan, with the American Saxophonist Paul Wehage, the composer Joseph-François Kremer and the organist Françoise Levéchin -Gangloff. His children’s musical “The Clown who lost his laught” was premiered in the Spring of 2001 with the children from the Lagny-sur-Marne elementary schools during the French “Year of the Circus”.
Jean-Thierry Boisseau‘s Concertino for trumpet, piano and orchestra was premiered in December 2009 and in 2011, several chamber works were given their first performances, including "Tout au bord du fleuve assoupi" for flute and marimba, written in honor of the 100th birthday of Claude Lévi-Strauss .
Jean-Thierry Boisseau’s catalog of works goes larger with the addition of new works.
Jean-Thierry Boisseau is the author of the article about music in the Cahier de l'Herne on the life and works of Claude Lévi-Strauss as well as a book published by l'Harmattan : " Histoires de la Musique " His "Bestiaire", a cycle of short poems was recently set by both Thérèse Brenet and Paul Wehage.

Through the looking-glass

(by the composer himself)

"Through the Looking Glass" I was not going to deprive myself evoking Alice in honor of Philip Glass, this sort of Franco-British musical pun and yet Lacanian ... 
The piece, indeed,wants itself to be transparent and naive ... 
well as long as the naivety of Alice either yet to prove as much as mine.
 And this is at this point that  Lewis Carroll and Philip Glass intervene without even knowing it.
The title of one's work using by the involuntary through the surname
 of the other is the title of the musical work. 
"Looking Glass" is also a bit "looking like Glass", but why try to "look like". I therefore reduced to mere transient signaling by masking certain stylistic effects of the Master. 
After all he is the head ... That homage is rendered! 

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