2021 guest composers
Betsy Jolas, born in Paris in 1926, settled in the USA. in 1940, where she studied composition with Paul Boepple, piano with Helen Schnabel and organ with Carl Weinrich. After graduating from Bennington College, she returned to Paris in 1946 to continue her studies with Darius Milhaud, Simone Plé-Caussade and Olivier Messiaen at the Paris Conservatory.
She has won many awards, including those of the Copley Foundation of Chicago, the American Academy of Arts and the Koussevitsky Foundation, becoming a member of the American Institute of Arts and Letters in 1983. Jolas was appointed to the faculty of the Paris Conservatory in 1975, and has also taught at several American universities including Yale, Berkeley, USC, San Diego and Mills College. Her works, written for a great variety of combinations, have been premiered notably by the Domaine Musical, at the festivals of Tanglewood and Royan and have been widely performed throughout the world by such artistes as Mady Mesplé, Claude Helfer, Elisabeth Chojnacka, Pierre-Yves Artaud, and by leading ensembles (Ensemble Intercontemporain, Lincoln Center Chamber Music Society, London Sinfonietta, Boston Symphony Chamber Players, etc.). Her works have been recorded by EMI, Erato, CRI, Adès among others and have received various important awards.
French composer and music educator, Édith Lejet was born in Paris on July 19th 1941.
She studied at the Paris Conservatory with Marcel Beaufils, Henri Challan, Marcel Bitsch, Jean Rivier and Andre Jolivet. From 1968 to 1970 she lived at the Casa Velasquez in Madrid and in 1970 began teaching harmony at the Sorbonne until 1972, before she became a professor at the National Conservatory of Music and Dance in Paris.
She was appointed as professor of composition at the Ecole Normale de Musique de Paris in 2004. Over the course of her career she has won numerous awards, including the Second Grand Prix de Rome in 1968, Prize Herve Dugardin from the SACEM in Paris and the William and Nomma Copley Foundation Award in Chicago.
Born in Casablanca, Morocco in 1945, Graciane Finzi studied music at the Casablanca Conservatory where her parents were teachers. In 1955, she began studied at the Paris Conservatory, learning the piano with Joseph Benvenuti, through which she developed an interest in composition.
She began working as a composer after completing her studies and was director of the Festival de la Défense from 1975 to 1979 whereupon she began teaching at the Paris Conservatory. She also served as vice-president of the ISCM (International Society for Contemporary Music) and of Société Nationale, as well as being an official representative to the Association Français d’Action Artistique (AFAA).
Over the course of her career, Finzi won several awards: SACEM Grand Prix de la Promotion Symphonique, Georges Enesco Prize, SACEM Grand Prix and the SACD Prize for her opera Pauvre Assassin (premiered in Strasbourg at Opéra du Rhin). Her works have a reputation for often combining different genres and folk styles. She composes for music theatre, voice, solo instruments, chamber ensemble and orchestra, but is particularly noted for the quality of her operas.
Born in 1963, France, composer, improviser. After classical piano studies, she studied at the Conservatoire National Superieur de Musique de Paris, and the Musik Hochschule in Basel (CH) in electroacoustic music and musical research. Composer and improviser, her work straddles both instrumental music “pure” as adventures “mixed” combining acoustics, electro-acoustic, performing arts and visual arts.
From a pure sound she passes to the scene, to the musician body, to the very body and to the drama. Contact with the instrument and the almost physical sensation of sound material are fundamental to her.
Thus, for Marie-Hélène Fournier, the act of writing cannot sever ties with the experience of listening, the realities of perception, but should question them. In her trajectory, she chose to enhance the living contact, thrilling, inexplicable and her works are in collaboration with artists in very personal approaches such as Georges Aperghis, Serge Bertocchi, Claudio Bettinelli, Sylvain Kassap, Michael Lonsdale, Malte Martin, Miles Perkins Brigitte Sylvestre, Isabelle Van Grimde. Her discography includes two solo CDs as well as several group CDs, CD-ROM or DVD-ROM. Marie-Hélène loves this sentence by Pierre Schaeffer: “Since there is music in our ears and through our understanding, one may wonder if the music starts when it is made, or when you hear it.”
Michelle Agnes Magalhaes
Her music explores the limits between gesture and writing.They are about the production of sound and physicality.
She focus on raw materials, creating complex sounds inside forms that are geometric inspired and structured.
Michelle Agnes also places a high premium on the engagement of the musician’s body with her performance, as well as new approaches to traditional instruments and instrumentation.
She has been awarded fellowships, residences and commissions from Radcliffe Institute (Harvard University), Fapesp, Camargo Foundation, Villa Sträuli, Siemens Foundation, Brazilian and French Culture Minister.
In 2013 she moved to Paris to work in collaboration with researchers at IRCAM (Pompidou Center). During 2017-18 Michelle Agnes Magalhaes was a Radcliffe fellow at Harvard University, USA.
She lives and works at Paris.
Florent Caron Darras
Equally sensitive to spectral music as he is to electronic and traditional music (notably Georgian, Iranian and Japanese music), Florent Caron Darras writes music that questions sonic models, territories, ornaments and attacks, inspired even in his titles by the relationships between humans, environment and technology.
Born in Japan in 1986, it is with Gregorian singing and classical percussions that Florent C. Darras began his musical career. After his Master degree in research on contemporary Japanese music at Paris-Sorbonne, he studies at the Conservatoire de Paris (Cnsmdp) where his work is awarded by two Master degrees and four prizes in Composition (Stefano Gervasoni and Luis Naón’s classes), Improvisation, Analysis (first class honour prize), and Aesthetics (first prize with congratulations for an essay about music and soundscape). After the obtention of the Agrégation, he teaches at the Université catholique de l’Ouest and pursue research on Georgian polyphony with world famous ethnomusicologist Simha Arom. Willing to improve as a composer with renown musicians, he namely meet and receive advices from Tristan Murail, Toshio Hosokawa, Mark Andre, Jean-Luc Hervé, Yan Maresz, Raphaël Cendo and Yann Robin, before to be selected to follow the Cursus program on composition and computer music at IRCAM. In 2019, he enters the Ph.D program SACRe of Université PSL, within the École Normale Supérieure doctoral school and under the direction of Makis Solomos and Gérard Pesson.
Florent C. Darras has worked several times with Ensemble Intercontemporain, and also with Ensemble Multilatérale, Ensemble Regards, Ensemble Muromachi (Tokyo), Castalian Quartet (London), the performers Marie Ythier, Annabelle Jarre, Fanny Vicens, Nicolas Arsenijevic, or the conductors Matthias Pintscher, David Reiland, Léo Warynski and Simon Proust. His music has been played on France Musique radio station and on the GRM’s acousmonium, and has been performed at the Philharmonie de Paris, the Tokyo Philharmony Bunka Kaikan, the Studio 104 (Maison de la Radio), the Centquatre-Paris, and in occasions such as the festival ManiFeste (Ircam – Centre Pompidou), the festival Présences (Radio France), the Milano universal exhibition, or the festival Mixtur (Barcelona).
He is supported by the Fondation de France, the Meyer Foundation, and the Sacem.
Lin-Ni Liao is a composer, musicologist and an Associated Researcher at the Institut de Recherche en Musicologie (Université Paris-Sorbonne – CNRS)
Taiwanese-French composer, Lin-Ni Liao, PhD in musicology and Associated researcher at the Institut de Recherche en Musicologie (Université Paris-Sorbonne, CNRS), is the artistic director of TPMC (Toute Pour la Musique Contemporaine) in Paris. She questions interculturality in all fields of her work, composition, artistic production, and academic research, the latter of which focuses on musical analysis, artistic identity, cultural heritage, and the role of women in contemporary music from the Far East.
She has published three books including: Pensée et langage musical d’Edith Lejet (Ed. OMF, 2010), Héritages culturels et pensée modern. Les compositeurs Taiwanais de musique contemporaine formés à l’etranger (Ed. Delatour, February 2015) and Fusion du temps : passé présent, Extrême Orient – Extrême Occident (Conference material co-edited with Marc Battier, Ed. Delatour, March 2014), and has written many articles about musical analysis as well as entries for the Taiwan section in Dictionnaire des creatrices du monde (Editions des femmes, 2013).
In 2012 she founded YProject, a co-production unit of “pianist-composer duo” with Yusuke Ishii.
English translation in progress
Alexandre Jamar was born in 1995 in Paris. After a degree in piano and music theory he began his composition studies by following courses in orchestration and harmony at the Conservatory of Nancy. He then joined his present teacher Pierre-Alain Braye-Weppeat the Conservatory of Montereau and also attends regularly private lessons given by Allain Gaussin.
His compositions have been premiered at the Belvedere Music Festival of Memphis (3rd Prize) and he received the 1st Price of the Grieg Composition Competition in Oslo, as well as the 1st Price of the Franz Josef Reinl-Stiftung in Vienna. His music has been performed in the United States, in France, Norway, Italy and Austria.In parallel, he studies singing with Didier Henry at the Conservatoire Paul Dukas in Paris.
As a singer, he is working withLa Chambre Concertante, an ensemble specialised in Renaissance music, and has given several concerts around German lied and French song repertoire.
In 2018, he graduated from the Paris Institute of Political Science, with a master diploma in the management of cultural institutions.