Hervé Celcal - Glass coco

Biography

Hervé Celcal

Hervé Celcal was born in 1975, in Martinique Island (France, West Indies), where he starts learning classic piano at the age of 7. He continues his lessons at L’école normale Alfred Cortot in Paris (France). He meets the french jazz pianist Bernard Maury, who is impressed by the musical maturity of this 20 years old man. 

In paralell with a career on stage and studio, with world music artists, as producer and sideman, Hervé developed a very personal project related to the tradition of his native island. 

In 2013, his first album « Bel air for piano » is ready : a very deep research about traditional music from Martinique : the « bèlè ». 

Within the bèlè, which is intimately linked to drums, Hervé introduces a novelty, the piano. Hervé worked at recreating the same sounds as the bèlè drum and evoking the melodious chants of the singer and « the repondè » (the chorists) with his piano. He introduces in this tradition all the modern aspects of jazz spirit too. 

The other particularity of Bel air for piano is that all the 14 pieces are written like classical pieces, that means they can be played by a concert performer. 

Glass coco

(by the composer himself)

With « Glass coco » that Hervé Celcal composed for Nicolas Horvath as a tribute to Philip Glass, 

the pianist offers a very modern « biguine » : 

the biguine is an evolution of the bèlè, 

meeting european music in the late 19th century. 

This piece is written in the spirit of Glass music, 

which is repetitive and based on a deep melodic sense ; 

two particularities that also characterize the bèlè.

David Atria - Cyclamen

Biography

David Atria

Composer David Atria (of Italian origin) was born in Liège, Belgium in 1975. He studied music at a very young age with private teachers. Trained by the Fine Arts, he later decides to take charge of his own musical education as an autodidact. In 2002, he leaves Liège, goes to Brussels but quickly moves to Paris, where he creates with Nunzio d'Annibale and Raphaël Denys an online journal of art and literature called "in situ! ". This journal publishes interviews with important writers and musicians such as: Philippe Sollers, Jordi Savall, Fabio Biondi, Etienne Klein, etc.

By the end of 2007, the violinist Fabio Biondi, interprets his sonata for violin solo at a concert in Norway.

For the next two years, he publishes reviews from classical albums in the Magazine Littéraire. In late 2010, he teams up with violinist Anne-Sylvie Primo who heads the Ensemble Darius. This group of classical musicians regularly plays the repertoire and his compositions. In 2012, he completes two books of French Poetry and another book based on his own experience with musical compositions titled "How I came back to where I was". This book opens our eyes to his perspective through the study and history of music by analyzing great composers, and deepens the artist’s spiritual lineage through the present and future course.

In October 2013, during the Festival of Sacred Music in Liège, Belgium, the String Quartet I, and the Sonata for solo violin by Anne-Sylvie Primo and the Ensemble Darius collaborate together in a successful concert.

The album Continuum Présence was released in January 2014 under the label cd Emma Music. This album gathers the best compositions created for the Ensemble David Atria. During the course of 2014, David Atria receives another scholarship from La Province de Liège, Belgium, to record his next album titled "Via Tertia".

In addition, he composed in many genres (including a Requiem, a piano concerto, a concerto for violin, chamber music, etc.). He now works between Bordeaux, Paris and Liège and is preparing his third album  "Medium" for the label company called Parnassie.

Cyclamen

(by the composer himself)

This piece has been initially composed for classical guitar, two violins and a cello. The original version is on the record “Continuum Présence”.

 I did an arrangement on the piano solo for my personal collection, changing the harmony. 

The theme in dotted quavers came to me in a vision like a waterfall of notes coming from nowhere. The rhythm on the bass (the arpeggios are the foreground) the right hand or violins evokes the mysterious dimension in life. 

The title “Cyclamen” means flower in french, 

where we can interpret the idea of time represented as a cycle.

Justin Lépany - You saw me die every Night

Biography 

Justin Lépany

Justin Lépany was born in Tokyo in 1980 from a French mother and an American father and was raised in Paris. He studied jazz guitar and musicology in Paris and Cardiff before moving to Berlin in 2005, where he still lives and works as an independent composer and as a guitarist for the

DJ-producer Fritz Kalkbrenner, the indie pop band Vember and his experimental project Hydroglisseur with the saxophonist Christoph Enzel. In his music, he wants to explore new paths without renouncing a clear melodic, rhythmical and formal direction. Baroque and romantic organ music, renaissance polyphonies as well as the discoveries of modern composers like György Ligeti, Salvatore Sciarrino or Horatiu Radulescu and countless rock and metal bands inspire his compositions. For more music and informations, visit www.lepany.com

You saw me die every Night

(by the composer himself) 

My music has always been made of optimism and hope and will always be

 but "You saw me die every night..." is a composition made of suffering and disappointment.

 It is a psalm without words, a mute chorale about calling to God in vain 

and about people who think that their own fears are an excuse to harm those who love them.

Cyril Planchon - Stimulus I

Biography

Cyril Planchon

 French , born in 1975 in Angers , Cyril Planchon began piano at the age of 8 .

His passion for the piano quickly leads to the composition.

20 years , Cyril was forced to stop the piano for study computer programmer , which leads him to become engineer in large groups such as Canal +, Technicolor .

Real self , Cyril continues to work his music even creating music 2 shows Anjou.

Despite his work computer programmer, Cyril continues to create unabated chamber music, piano pieces , music playing ...

Driven by a passion for music, Cyril abandoned his profession to become a professional computer programmer composer .

" Leo " Anthony Bessonnier is his first original music , will succeed "First Date ", a short film by Sarah Gurévick then " clock Angels" Arnaud Debuchy , whose soundtrack was recorded by the orchestra Quartet 92 at Studio Plus XXX Paris.

Today Cyril regularly responds to requests for original music .

Cyril , a self-taught composer who , for some time now , the following courses to hone his songwriting style . I stimulus is most likely the result of this work .

Stimulus - I

(by the composer himself)

The stimulus is an event coming musical nature determine a change in the line
page.
The stimulus can be of type:
- Harmonic
- Rhythmic
- directional
- intervallic
Stimulus I:
In this piece, the stimuli used are directional harmonic type and intervallic.

Gaylor Morestin - Metamophosis Six

Biography

Gaylor Morestin

Gaylor Morestin immersed in music ever since. Great-grand-son of harvesters, grand-son of accordionist and guitarist son, it is natural that he learned the violin to become a pianist. It was his brother Charlie, drummer, who introduced him to the pleasures of the musical composition. Thus Gaylor, then aged 14, set to music "head, the other arm," an original play by Paul Bourrière. Passionate, Gaylor started composing frantically concertos, a dozen soundtracks for cinema or theater, musicals, several albums of songs of all kinds, an unfinished and several solo piano album symphony. He creates his musical training "Awerz" with Benoit Toussaint, Jean-Laurent and Pierre Gabriel Aceituno, for which he composed a dozen albums.

 

Metamorphosis Six

David Christoffel - A perfect french

Biography

David Christoffel

Born in 1976 in Tours, lives in Clichy.
 Author spoken operas such as La flûte dite enchantée (1997), Le Déchante-Merdier (1999), or Les Batons rompus (2009) released on the netlabel Echopolite ), David Christoffel is interested in the relationship between poetry and music (less for loans to each other in investigating the possibilities of an " archimetry ").His Ehess  thesis focuses on the indications of Erik Satie's score ( an extract appeared in the « Ironie / Parodie 1 » Text revue (University of Toronto) , another in the « Dérives de l’essai » from Études Littéraires  (University of Quebec).

 On contemporary poetry, he wrote « Discrètes actualités du poème simultan » in Dossier H,  Dada circuit total (L’Âge d’homme, 2005) and « Opéra et pas-opéras de Tarkos » in RiLUnE n°2

 He founded Tais-Toi, Là. (with Klara S. ) and collaborated to Op. Cit., Poésie express, Action restreinte, Critical Secret, Il Particolare, Arte Radio, Doc(k)s, CCP, Boxon, 22(M)dP and Georges.

A perfect french 

A perfect french is an allegory between lyricism and pattern in approximately thirteen sequences. 

With the draft version to do do in a french way the Philip Glass' "american friendly" opera model The Perfect American, it is to spread the drama on structured periods and constrained by their specific expression limits.

Maxence Cyrin - The Frenchman

Biography

Maxence Cyrin

Maxence Cyrin is a French pianist and composer.
After training at the conservatory, he moved on to electronic music and made several records during the 1990s.
In 2005, he released Modern Rhapsodies on FCom, the label founded by DJ Laurent Garnier, where he reinterprets iconic themes of electronic music from artists like Massive Attack, Depeche Mode and Aphex Twin as a solo pianist.
In 2010, he made a second album in a similar vein, entitled Novö Piano, in which he adapted pop, rock and electro music from artists such as Daft Punk, Nirvana and The Pixies (which youtube video has reached 3 millions views).
In 2012, he release The Fantaisist, in 2012, an imaginary soundtrack for piano, strings an synthesizers.
In 2014, Maxence Cyrin works on on a new album "Nocturnes", composed by melancholic and sweet piano pieces described as musical journey into the night.

Resolutely anchored in his time, Maxence Cyrin occurs in classical music festivals as Pianos aux Jacobins, also works regularly for the fashion industry with brands like Lanvin, Chanel, or Valentino, and has participated in projects in the contemporary art world (Galerie Perrotin, Galerie Chappe, Galerie Florence Léoni).

The Frenchman

(by the composer himself)

When I composed "The frenchman" I wanted to create a piece as if Philipp Glass had been french. 

The piece has this typical minimal and repetitive structure like that has to be but maybe you will recognize my "french touch" in this tribute to American master.

Alain Pradel - Carnaval

Biography

Alain Pradel

Born in 1949 in the former French West Indies colony of Guadeloupe, Alain Pierre Pradel began studying piano at age 12.
For him, balance came from music, from the piano.  Rural standards did not facilitate his learning.  Classical works were not prized and were sometimes abandoned in favor of local airs.  Both forms of music have a place in his heart and are sources of interest, of reflection
 and of profound emotions.  He was going to remain faithful and even seek to unite them, in spite of prejudgments.
After seven years in Paris, Pradel returned to Guadeloupe in 1975.
It was the start of a period marked by research in composition and by an introduction to music for dance.  In June 1982, at Deshaies, the dream, the merger, became real with the writing of  La cité de voile (The City of Sail), an original work for piano directly influenced by the mixing of cultures.

Carnaval

(by the composer himself)

The eye is attracted by a thousand details, but the sound of drums, chants, shouts surround you ...

 The bass clef triumphs, the treble clef undergoes!

Frédérick Martin - Glass in Mirror

Biography

Frederick Martin

Paris born composer Frederick Martin (1958-) has always tended towards the fusion of traditions with a sense of avant-garde. His output of about 160 pieces tackles all genres and expression dimensions, in his chamber music, hinged on his 11 string quartets, as well as his orchestral works, which include 5 symphonies and several concertos. 

Frederick Martin occupies a unique place in the landscape of contemporary art . By training , first, far removed from the traditional academic route. By his eclectic musical tastes , then , that reflect , for example, a particular interest in metal music and stridency , which his works are not free .As emphasized by Hugues Dufourt effect works in the catalog of the composer Frederick Martin " wrote an essentially tight music." To do this, he explores the confines of instrumental resources possible, frequently uses registers and extreme tessitura , likes, the orchestra sounds " eruptive " and " incandescent " signs of a " writing style all whole focused on the effort, [ which has ] yet nothing ungrateful or repulsive in the audible result . " Is that accurate Dufourt , Frederick Martin also demonstrates an undeniable " virtuoso writing " manifested particularly at the musical articulation . Bruno Mantovani - who also notes from the composer a "highly dramatic conception of the work [1] " - says about the transitions in their decked out with an emotional charge giving the rooms a " narrative character of the towers strong, " no longer the sole role of liaising between the important moments of the speech.Self first resident of the Villa Medici , Frederick Martin formed off the beaten path . His departure for Africa shortly after his birth was held in effect permanently away from conservatories. Back in France, he officiates a time as copyist never stop writing , then spent two years at the Académie de France in Rome (1989-1991) before taking the courses of computer music at IRCAM (1992-1993) . He flew to California then successively and Russia within the framework of Medicis Villa extramural programs (1993-1994) and Giles (2006).Alongside his compositional activity , Frederick Martin is ready to exercise conferences, devoted himself to writing articles and books as well as education . Author Eunolie first French book on black metal (2003), he was asked by various magazines like Musica Falsa , he is one of the editors. Professor of music composition and arrangement at the University of Marne -La-Vallée between February 2006 and June 2009, he also taught , from January to June 2011, the musical training and analysis at the School of Music Brétigny -sur -Orge .Coup de Cœur of the Académie Charles Cros for three of his tales for children - an area in which Frederick Martin has yet ventured with success - holder Paul Louis Weiller Award presented by the Academy of Fine Arts for the all of his work , the composer said to feed on "everything is [ its ] provision in terms of sounds, shapes, grammatical resources , paradoxes , impulses , break ." Evidenced by its more than one hundred and thirty opus numbers which result , in large part , orders from national institutions, groups or private individuals .

Glass in Mirror

Glass in Mirror, #12 of the 24 Preludes for Piano,

 makes up an attempt to compose a repetitive and mono-rhythmic music on a short scale, 

with the obsession of playing as fast and as loud as possible throughout the piece. 

Françoise Choveaux - Galerie des Glass

Biography

Françoise Choveaux

Hailing from Lille, who began his musical training later , Françoise Choveaux is the beginning of his career Robert Lannoy director of the Conservatoire de Lille and his wife Lola Delwarde who bequeathed him know his piano before he died. At the same time , it follows writing and organ classes with Jeanne Joulain pupil of Marcel Dupré.Elle then went to the Ecole Normale de Musique de Paris in the class of Lelia Gousseau . She graduated piano teaching .
To pass a course , she decides to leave the U.S. follow the course of Leon Fleisher and Lilian Freundlich Peabody Institute in Baltimore . Soon after she also managed the support of the Juilliard School in New York where she will follow the course of Eric Ewazen for composition and Sacha Gorodnitski for piano. She finds there a university where all students are more music lessons courses of general subjects like literature , sociology , aesthetics , language etc ... in order to prevent them from becoming uneducated musicians while developing social and humanistic dimension of professional work and promoting their integration in a complex world .

Back in France , she continued her dual career as pianist and composer. This is Madeleine Milhaud, Darius 's wife who suggested to record the complete piano works of her husband's world premiere . It serious and three CD offering us a masterful interpretation of these pieces too little known immediately rewarded by critics and the international press (19 directory , 5 Diapason , Le Monde de la Musique, 10/10 in wind ) .

This is Madeleine Milhaud, who urged him to persevere in the path of composition.Connaissant reviews uncompromising latter , Françoise Choveaux gives himself permission to become the composer it is today with more than 170 opus to its catalog. His works are now played around the world

If Françoise Choveaux used in his works polytonality it does not need to Milhaud. By cons she admits affinity with the composer perhaps because Brazil where people from his family lived . "In the Brazilian String Quartet , I wanted to describe the Brazilian soul, saudade is a mixture of a variety of emotions: joy, simplicity , hopelessness , fatalism , generosity . I also imbued with popular children's songs and Brazilian rhythms , "she said about her Op.101n 3. It also includes a novazinhas Bossa for piano opus 124.

She has written three Saudades , three string trios tribute to Madeleine Milhaud:
Op. 42 Saudade No. 1 and Op. 47-48 Saudades No. 2 and No. 3

But it is in his opus 22 Mill 's College concerto for orchestra , named this place where Darius Milhaud taught for many years that reflects his admiration for the composer using the same composition orchestra in The Creation of world.

From March 1999 to March 2001 , Françoise Choveaux is invited by the association to the live at the Abbaye de la Pree (Musical Academy of Fine Arts ) for a residency mind : she draws strength and vitality increased .
 She then began an important series dedicated to the orchestra. First, continuing its series of three symphonies for strings now known and interpreted by several orchestras ( St. Petersburg , Sao Paulo Symphony Orchestra , Orchestre de la Pree ... ) .

She also wrote a series of concerti : On 21 September 2002, the Philharmonic Orchestra of Lithuania has established his Violin Concerto No. 1 with the prodigy Vilhelmas Cepinskis in a series of concerts in major cities of Lithuania ( September 21, 2002 ) .
In June 2004, she created her Winter Concerto for piano and string orchestra with the London Primavera Orchestra. after White Symphony for organ, string orchestra and timpani (op. 100) , in 2001 his Symphony Indigo , is recorded in orchestral repertoire such as St. Petersburg, or Sao Paulo Symphony Orchestra ) . C ' the painter Arthur Van Hecke dedicatee of his Symphony Indigo inspires him this title , as Françoise Choveaux love working with writers, painters and dancers and mix different disciplines creating partitions and shows: writing a story music for recorded by Michel Bouquet , with the writer Lily Gros which is the third collaboration and actor Jacob Vouters children it creates a Thousand and pasta for narrator , flute , clarinet, two pianos , xylophone , harmonium , 2 violins, viola , cello and bass - a work full " musical- culinary " flavor text on a Lily Gros with the same orchestration as the Carnival of the Animals Saint Saens . She composes music for radio drama , Les Francs- Comtois , produced by Radio France.Elle working performances choreographer Odile Duboc, she writes compositions for museums, the National Museum of Iceland Reijavik it occurs with a program French music in a retrospective André Masson, the LAAC Place of Contemporary Art and Action Dunkirk she gave a concert around Prints of Jacques Doucet, the French CoBrA , the painter Matthew Schmitt she gets a show on the theme insects.
 This is in reference to the painting Françoise Choveaux talking about chamber music one of his favorite forms , particularly the writing for strings which occupies an important place in his compositions "The wealth of sounds and colors for strings discovery of each moment. For a composer , I think the string quartet offers infinite possibilities as can the palette of a painter . "

Galerie des Glass

(by the composer himself)

The three miniatures op.195 for piano represent three mobiles with suspended Glass elements: 

these three sculptures swept by the wind and smoothed caressed by the sun elaborate

 transparent mirror games, lights, colors, reflections, phantasmagorical shapes,

 painted by the windy scores

Arnaud Desvignes - Haut Bas Fragile

Biography

Arnaud Desvignes

Born in Paris in 1976 , Arnaud Desvignes began studying music and piano at the age of four . Fed multiple musical influences very strong, the Gregorian chant spectral music , through extra- European music , he forges his writing for twenty years. Thus, it places its time and the heart of his work where pattern and chromatic complement and where each piece develops its own form . Playing on the different sound settings , it leaves it to develop between events suitable for dimming and sound " silences " creating vibrant spaces among these events.Violinist Sidonie Bougamont interprets one of his first works in 1999 in Paris . Then, from 2000 , he became musical director of the company The Third Theatre for which he wrote music scene six , including two theatrical creations of the troupe. Pianist Nima Sarkechik interpreter Soliol Festival Radio France Montpellier in July 2009. From 2012 , it organizes thematic concerts where personal works and works of repertoire meet with musicians of great talent.

Haut Bas Fragile

(by the composer himself)

This piece is based entirely on the principle of repetition dear to American minimalists. The six parties that structure the piece , each offering a particular face of the repetition , the repetition of two notes evolving more broadly, the repetition of a simple form , the repetition of a shape with additions sucessifs each repetition, repetition as free toccata and ostinato repetition in multiple mirrors and more random repetition where repeated shapes are fragmented and recomposed . All finding its culmination in the final part when all the previous sections are summarized in the last four serious piano notes . The keyboard , meanwhile , is divided into three sections symmetrical , but not sealed , which change every time each of the first five games. The last four notes of the piano serious acting stubborn and repetitive bass throughout the room and logically conclude from these cycles of répétitions.

Stéphane Delplace - Hommage à Glass

Biography

Stéphane Delplace

by  Grégoire Hetzel

 After having begun the piano at a very young age, Delplace, alone, without guidance, without scores, continues through improvisation to discover music. 
 At the age of seventeen, he decides to dedicate himself completely to music, and while continuing with his studies of piano and organ, begins to compose. 
 The seeming pain of dissonance, the beauty of linear conflict between voices, the harmonies and disharmonies that they create never cease to fascinate him. 
 His discovery of Bach’s Fantasy in G major for organ is a definitive turning point. 
 Delplace relentlessly deepens his mastery of composition and attends the Conservatoire National de Musique de Paris, where he studies counterpoint, harmony, fugue, and orchestration.  But, as he readily admits, it is through studying the works of the composers he most admires (Bach, Brahms, Ravel...) that he shapes his musical persona.
 In the early nineteen-eighties, while harmonizing the whole tone scale in opposition to the modal debussy-esque solution, he discovers a singular tonal harmonic configuration out of which many of his works were born, such as the oratorio De Sibilla (adapted from Virgil), premiered in Saint-Germain des Prés in 1990, as well as the Prelude et Fugue VI in B flat minor. 
 Comforted by the idea that tonal language has not been exhausted of its possibilities, the composer henceforth looks for the expressive force of clear compositional language, while always being careful not to sacrifice himself to any form of progressivism. 
 The Klavierstücke for piano (1995-99, ed. Esching), the double concerto Laus Vitae (1998), the Tombeau de Ravel, for full orchestra (1997), Odi et Amo (adapted from Catulle) or the Variations dans le Ton de Sol for solo cello (1995), to cite only a few of his works, all share the quest for harmonically painful beauty and for the counterpoint that it subjugates. 
 Several obsessions haunt these works which are true examples of the author’s language:  The alteration of weak scale degrees, brought out as if Delplace, without leaving the tonal ‘solar system’, wished to explore the farthest most planets, or as if he wanted to visit the ”geography of those well known lands whose basements are still left unexploited.”
Another element interests him: Theme, the original idea, out of which everything flows naturally without divulging where it will take the composer, and that the contrapuntal and harmonic lines adopt and nourish. 
“After having found a musical idea, I have only to withdraw myself, I let the emotional and artistic material exhaust the substance of my idea, and I am under the illusion that my solution is the one that anybody would have chosen. For me, the important thing is to go further, not to invent new formulas.” 
Delplace likes to cite Cioran, whose phrases ‘tender geometry’ or ‘exercise on a metaphysical background’ as applied to Bach, suit him as well, and particularly apply to his Trente Preludes & Fugues.       

 His determination to write tonal music naturally kept him far from the official contemporary music circles. 
 It was only in 2000 that he joined the Phoenix group founded by Jean-François Zygel and Thierry Escaich. 

 The Académie des Beaux-Arts awarded him the Prix Florent Schmitt in 2001.

Hommage à Glass

(by the composer himself) 

This prelude, with its rhythmic and melodic cut naturally refers to the 1st Prelude Well-Tempered Clavier (Book I) of JS Bach. The original arpeggio here has become a joint range. Harmony then counts in each measure on a dissonant embroidery, laid down by the left hand, the direction is never predictable. 

The tonal journey there is so different from the "model", the climax occurs by the golden section (measures 20, 32), giving way to a long decrescendo then to the final peroration, which s abyss in the depths of the range, ending with we refuse reassuring major third. 

The tribute is meant dual as it is based on what could have glassien Bach, 

offering something bachien in Glass!

Françoise Levechin-Gangloff - Do

Biography

Françoise Levechin-Gangloff

Organist of the Cavaillé-Colle Organ at the Church of Saint Roch in Paris, Françoise Gangloff studied at the Paris National Conservatory of Music (Piano, Sight-reading, harpsichord, composition and Organ) and at the Sorbonne where she received a degree in Musicology. She studied the Organ principally with Gaston Litaize and Rolande Falcinelli.

Françoise Levechin is the president of the Conservatoire International de Musique de Paris, also Professor at the Conservatoire Nationale Supérieur de Musique de Paris ( CNSMDP ). Françoise Gangloff is the President of the International Conservatory of Paris and also Professor at the Paris National Superior Conservatory. She has the double vocation of pedagogue and Concert Artist. She performs all of the standard repertoire for the organ, but is especially interested in promoting new works written by living composers for the Organ ( Tisné, Clostre, Escaich etc ) An avid composer, Françoise Gangloff is also one of the rare women organists who actively promote the art of improvisation at the Organ.

 

Do

(by the composer herself) 

Do (C) is the first note of a natural musical scale, and a note known to all; 

Do is a syllable whose sound varies depending on whether it is spoken or sung,

 it is a signifier and a verb, so,

 the epicenter of a fixed and  revolving universe of sound as Phillip Glass knows so well to let us sense.

Jean-Thiérry Boisseau - Through the looking-glass

Biography

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! 

Denis Dufour - Spot

Biography

Denis Dufour

Denis Dufour (1953, France), after studying the classics at the CRR in Lyon and the Paris Conservatoire, he is renowned as a composer in the field of instrumental as well as electronic creation for concert with more than a 170 works to his credit. As one of the pioneers of the 'morphological' and expressive approach to sonic writing, his works employ a wide spectrum of parameters in all sonic dimensions, contributing to the emergence of a genre that decisively connects all the arts with his interdisciplinary approach to composition and pedagogy. From the late 70's, he was a teacher at the Paris Boulogne-Billancourt higher arts education centre (PSPBB), the Regional Conservatories of Paris, Perpignan and Lyon and the Paris Conservatoire (CNSMDP), researcher (including GRM until 2000), lecturer, a host for many courses, workshops and master classes in France and abroad (particularly in Japan and Italy), an organizer and artistic director of several events dedicated to contemporary creation (the series Acore in Lyon, Syntax in Perpignan, Musiques à Réaction in Paris, Futura Festival in Drôme). He is at the origin of several structures, collectives and instrumental ensembles that continue to irrigate the musical life in France and worldwide (Motus, Futura, Syntax, TM+, Les Temps modernes…). A composer of a variety of instrumental, vocal or acousmatic works he has always been deeply involved in the transgression of genres, plunging his experiences in the field of dance, video, mixed works (combining instrument and fixed audio media), the musical theatre, radio art and Hörspiel, installations and sound environments. A large number of his works use texts for which he collaborated with various authors, including Thomas Brando with whom he collaborated since 1980. His works are published by Opus 53 and Maison Ona.

Spot

(by the composer himself)

Cycle ‘Souvenirs de Pierre’

Dedicated to Nicolas Horvath

There seems no doubt that American minimalist music had flourished in the aftermath of loops and sonic reinjections of Pierre Schaeffer's French studio where he invented ‘musique concrete’ in 1948, composing his famous Études de bruits. It is from one of them, Étude pathétique, that Denis Dufour renews his experience of a transcription of a singular sound world. In Spot, offering a careful and accurate translation, not in letter but in spirit, he transposes the ineffable of ingenuity, of the nonchalant instant, of the movement captured in the 'closed groove'.

Jean-Christophe Rosaz - Under a Tree

Biography

Jean-Christophe ROSAZ

Born in the Alps, of a Swiss-French nationality and Italian-Argentinean origin, all this invite him to travel, meeting other cultures. Graduated of the Conservatory of Lyon in classical guitar and writing music (counterpoint, harmony and fugue), he obtained a Post Graduate Diploma in Composition at the Conservatoire National de Lyon and then in film music at the Ecole Normale de Musique - Alfred Cortot in Paris .

He has won several composition competitions: 2013 Prayer for peace has been choiced for the Congrès Pueri cantores 2014 Paris. The lads of Monleon is the winner of the 1st Hispasong International Composers Contest (Spain). Diligam te, Domine is the winner of the 7th Concours Amadeus de composition chorale(Spain). Chiaroscuro for double bass solo received the Grand Prize International Society of Bassists David Walter Composition Competition solo division, the premiere performance will be at the 2013 ISB Convention, June 3-8, Eastman School of Music in Rochester, New York. Concours National Composition and Writing Songs for Choirs (Choirs Creates Re) 2009 chaired by Jean-Claude Vannier (Jury members: Jean-Claude Petit, composer, Patrick Marco, head of choir). Fairies of the Rhine was awarded the prize for composition for choir festival of Swiss children's choirs and youth / 2008-2009. Semifinalist for Frammenti dell 'Paradiso (from a text by Dante Alighieri) to contest composition of sacred music for choir of Fribourg (Switzerland) 2008. Composition Competition for Concert Band of Lambersart 2006. Contest the city of Basel in 2000, for Argizagi: mixed choir. Lutoslawski International Composers Competition: Awarded for Four Indian Songs (soprano, conductor) / 1995. Piano Composition Competition of the city of Vannes: winner for Storm on the Ocean, Under The Sun's Drum / 1990.

His works are created in France, Belgium, Switzerland, Luxembourg, Portugal, the United States by ensembles and musicians of international fame as Sonia Wieder-Atherthon, Pascale Rouet at the International Festival of Organ Music of Dudelange, Christine Marchais, Marc Sieffert, Francois Veilhan, Noelle-Anne Darbellay, the Choir Britten cond. Nicole Corti, Suonare e Cantare, dir. J. Gaillard, Maîtrise de la ville de Paris Masters, cond. Patrick Marco, Maîtrise de la Cathedrale Notre Dame de Paris, cond. D. Rougier ...

He received numerous commissions: the Forestare Ensemble Canada, the Modern South America ensemble, Cantatrix, Amia associtation and the city of Strasbourg for an opera for children's voices, The Quimper Musical Weeks, Orion Ensemble (Switzerland) dir. Jean-Luc Darbellay, The Choir of the Orchestre National des Pays de la Loire (cond. Valérie Fayet), the Festival of Voices Priory, dir. artistic Bernard Tetu, Loïc Pierre and Le Cepravoi, the Argenteuil Estudiantina and Florentino Calvo, Panam 'Trombones as well as featured artists such as Marianne Müller, Thierry Barbé ...

Under a Tree
(by the composer himself) 

A tribute to Philip Glass?

When Nicolas Horvath asked me to write a tribute to Philip Glass would be a bit like the reflection of his music in my work ( which are sometimes found in his footsteps ) and my reflection on art , I just was awake on the idea. Given the number of composers sought , it was the time itself is "minimalist " one minute !

Minimalist music, based on repetition : you can hear in some traditional music from various cultures, in ground , with a passacaglia ostinato bass in some forms of pop music . If it appropriates so special sensations arising : incantation, spell or shamanic trance up exasperation and feeling of confinement, it can be seen also as a game in which the rule would be: what to do inside this " playground "?

It is also a music that caters to a wide audience and what artist does he not questioned about it ( to reject , be slave or try to find a balance between proposal and receiving) ?

Was it not at its inception in the 60s , prophetic of our time "copy and paste "? Is it not green by the perpetual recycling of its foundation ? Does it have a form of wisdom by means of its economy ? By obstinate side , do not she expresses the position of man in relation to the world around him : as a political manifesto that would say no to anything that does not match its deepest values ?

More specifically it not also partly answers the question of children's music or amateur ensemble , for which we can develop it through accessible formats ( for example, by enriching the overlay technique ) ?

While I was looking for a title for the piece (? ' Around ' Glass ") , I lay down under a tree in which all young leaves shimmered in the sun and playing in the breeze : the choice of Under the Tree is then all naturally came to me because it is a live music traversed by a wave and coated with shimmering that I wanted to pay tribute humbly . Over the wave in motion, a sober and expressive singing rises soon picked up by an imaginary bird which responds in turn a deep echo before climbing up there in space, 

as if nature all came into full resonance ...