1GB sommaire - La Folle Journée

La Folle Journée of Nantes 2014
Des canyons aux étoiles
American music from 1860
In the Pays de la Loire Region
From Friday 24 to Sunday 26, January 2014
In Nantes, La Cité Event Center
From Wednesday January 29 to Sunday February 2, 2014
Press Kit
- La Folle Journée de Nantes
page 2
- The Composers
page 4
- List of the invited artists
page 13
- Cultural mediation initiatives
page 16
- Practical information
page 17
- Partners of the Folle Journée
page 18
Information on our website : www.follejournee.fr
Programme
Biographies and pictures of the artists
Press registration
Visuel Folle Journée : création LMY&R
Textes CREA/Nantes
Press contact
Folle Journée in Nantes
Françoise Jan, + 33 (0)6 07 32 05 53 – [email protected]
Solange Désormière, +33 (0)6 08 71 86 30 – [email protected]
Folle Journée in the Pays de la Loire région
Nadia Hamnache, Conseil Régional, +33(0)2 28 20 60 61 - [email protected]
Adda Kerrouche, +33(0)6 14 34 85 40 – [email protected]
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La Folle Journée 2014 - ‘From the Canyons to the Stars’
20th anniversary festival
Pays de la Loire Region, from 24 to 26 January 2014
Nantes, from 29 January to 2 February 2014
Theme for the 2014 La Folle Journée festival in Nantes: ‘the New World or the USA’.
This theme encompasses a broad panorama of American music from 1860 to today, with a focus on
four main sections:
Section 1: The roots of the new continent
The history of art music in the United States is deeply entwined with popular culture, especially
traditional American songs. In this respect, 19th-century composers Louis Gottschalk and Stephen
Foster paved the way for a home-grown American school of music while conserving European
traditions. In the 20th century, Charles Ives, Virgil Thomson, Henry Cowell and George
Gershwin created a synthesis of traditional and modern-day music. It was later, with composers like
Aaron Copland, Samuel Barber, Leonard Bernstein, Colon Nancarrow, John Cage, Steve
Reich, Philip Glass and John Adams, that American classical music really entered the international
music scene.
Section 2: The United States - a land of welcome
The United States opened its doors to composers like Antonin Dvorák, who was to direct the
National Conservatory of Music of America in New York from 1892 to 1895. America was also to
become a land of exile for many composers fleeing the totalitarian regimes of Germany and Russia.
Indeed, from the early 20th century, the country was the main destination for Jewish people and
political opponents seeking asylum from the oppression and persecution that was taking place in
Europe. However, regardless of the reasons for such exile, Serge Rachmaninov, Serge Prokofiev,
Paul Hindemith, Erich-Wolfgang Korngold, Igor Stravinsky, Béla Bartók, Edgard Varèse,
Arnold Schoenberg, Bohuslav Martin and many others became leading musical figures and
composed some of their best works on American soil, incorporating the pain of their uprooting as an
influence.
Section 3: Amercian institutions as commissioners of works
Foundations:
Several major foundations commissioned works from composers, such as the Koussevitsky Music
Foundation (Béla Bartók’s Concerto for Orchestra, Gyorgy Ligeti’s Ramifications, Krzysztof
Penderecki’s Cello Concerto), or the Fromm Music Foundation (Luciano Berio’s Circles, Tristan
Murail’s Les travaux et les jours). Others, such as the John Simon Guggenheim Memorial
Foundation, awarded fellowships to composers, including Samuel Barber, Luciano Beri and John
Cage.
Orchestras:
Some of the larger American orchestras also commissioned significant 20th-century works: the Boston
Symphony Orchestra (Igor Stravinsky’s Symphony of Psalms, Olivier Messiaen’s TurangalîlaSymphonie, Henri Dutilleux’s The Shadows of Time), the New York Philharmonic Orchestra
(Toru Takemitsu’s November Steps, Luciano Berio’s Sinfonia), The Los Angeles Philharmonic
(Toru Takemitsu’s Riverrun), and the Cleveland Orchestra (Henri Dutilleux’s Métaboles).
Olivier Messiaen’s work ‘Des Canyons aux Étoiles’ (From the Canyons to the Stars), was composed
in 1974 for the United States Bicentennial.
It should also be noted that numerous composers travelled to teach at top American universities, such
as Harvard, Princeton or at the Tanglewood summer music academy. Many composers also chose to
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write works in the United States, for example Hymn to a Great City, Litany, Symphony No 4 ‘Los
Angeles’ and Peace upon you, Jerusalem by Arvo Pärt, Folk Songs by Luciano Berio, and so on.
Section 4: Film
A number of artists composed for Hollywood. These include Kurt Weill and Hanns Eisler who
worked with film makers Fritz Lang and Jean Renoir. Max Steiner, who was a student of Mahler and
Brahms, went to Hollywood in 1929 where he penned the scores to King-Kong, Casablanca and Gone
with the Wind. Erich-Wolfgang Korngold, for his part, worked for the Warner Brothers Studios on
several occasions, composing, among other things, the music to A Midsummer Night’s Dream, and
The Adventures of Robin Hood. He created some twenty pieces which changed the ‘sound’ of
Hollywood and raised the level of studio orchestras to be on a par with the best national orchestras.
Following in the footsteps of these first collaborations between composers and film directors, Hans
Zimmer (Rain Man, Gladiator…), John Williams (Star Wars, Jaws…), John Barry (Dancing with
Wolves, Out of Africa…), Bernard Herrmann (Citizen Kane by Orson Welles, Psycho by Alfred
Hitchcock), Elmer Bernstein (The Magnificent Seven…), Henry Mancini (The Pink Panther…)
carried on the tradition of composing large-scale symphonic pieces for the cinema.
In addition to these four sections of the festival, there will also be a strong emphasis on American
popular music with performances of jazz, blues, Negro spirituals and Broadway music, from
Show Boat (1927) to Hello Dolly (1964), through Porgy and Bess (1935), My Fair Lady (1956) and
West Side Story (1957).
With such a panorama, this year’s festival takes an unprecedented and fascinating look at
20th-century music to celebrate the 20th anniversary of La Folle Journée.
www.follejournee.fr
La Folle Journée around the globe, in 2014
24 to 26 January 2014:
La Folle Journée in the Pays de la Loire Region
29 to 2 February 2014:
La Folle Journée in Nantes
7 to 9 March 2014:
La Folle Journée in Bilbao
26 April to 6 May 2014:
La Folle Journée in Japon
26 to 28 September 2014:
La Folle Journée in Warsaw
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Composer biographies
JOHN ADAMS (1947) is an American composer with strong roots in minimalism. His best-known
works include Short Ride in a Fast Machine (1986), On the Transmigration of Souls (2002), a choral
piece commemorating the victims of the September 11, 2001 attacks (for which he won a Pulitzer Prize
in 2003), and Shaker Loops (1978), a minimalist four-movement work for strings. His well-known
operas include Nixon in China (1987), which recounts Richard Nixon's 1972 visit to China, and Doctor
Atomic (2005), which covers Robert Oppenheimer, the Manhattan Project, and the building of the first
atomic bomb.
GEORGE ANTHEIL (1900-1959) was an American composer who began his professional career in
Europe, where he was friend with, among many others, James Joyce, Ezra Pound, Gertrude Stein,
Pablo Picasso, Salvador Dali, Ernest Hemingway, Eric Satie, and Igor Stravinsky, in the early '20s.
Antheil wrote over 300 musical works in all major genres, including symphonies, chamber works, film
music, and operas. He settled in Hollywood, where he enjoyed a reasonably successful career as a
composer for film and television.
MILTON BABBITT (1916-2011) was a major American composer, theorist, and teacher. He began
his study of the violin at age 4. He later learned to play clarinet and saxophone, exhibiting an early
interest in jazz and popular song. The compositional and intellectual wisdom of Milton Babbitt has
influenced a wide range of contemporary musicians. A broad array of distinguished musical
achievements in the dodecaphonic system and important writings on the subject have generated
increased understanding and integration of the serial language into the eclectic musical styles of the
late 20th century (Three Compositions for Piano, 1947). He is a founder and member of the Committee
of Direction for the Electronic Music Center of Columbia-Princeton Universities and a member of the
Editorial Board of Perspectives of New Music.
KLAUS BADELT (1967) was born in Frankfurt, Germany. He started his musical career composing for
movies and commercials in his homeland. In 1998, he moved to California where he started to work
with Oscar-winning film composer Hans Zimmer. Since then, he has been working on a number of his
own film and television projects such as The Time Machine. One of his most famous and popular score
was for the 2003 film Pirates of the Carribbean: The curse of the Black pearl. He wrote music for many
well known directors including Ridley Scott, Tony Scott, Terrence Malick, John Woo, Kathryn Bigelow,
Werner Herzog, Sean Penn, and Steven Spielberg. He also wrote the music for the closing ceremonies
at the Beijing Olympics in 2008.
SAMUEL BARBER (1910-1981) was an American composer of orchestral, opera, choral, and piano
music. He is one of the most celebrated composers of the 20th century: His Adagio for Strings (1936)
has earned a permanent place in the concert repertory of orchestras. He was twice awarded the Pulitzer
Prize for music, for his opera Vanessa (1956–57) and his Concerto for Piano and Orchestra (1962). Also
widely performed is his Knoxville: Summer of 1915 (1947), a work for soprano and orchestra, which
sets a prose text by James Agee. Unusual among contemporary composers, nearly all of his
compositions have been recorded.
BÉLA BARTÓK (1881-1945) Born in Hungary in 1881, Bartok began his musical studies on the piano
at age 5. His mother was his first teacher. At age 11, he made his first public appearance, playing his
own piano music. Bartok enrolled in the Royal Academy of Music in Budapest and made several tours of
Europe after his graduation in 1902. Around 1905, his interest for Hungarian folk music coupled with his
discovery of the music of Debussy, influenced his musical language as his opera Duke Bluebeard’s
Castle (1911) and ballet The Wooden Prince (1917) demonstrate. But as he absorbed more and more of
the spirit of Hungarian folk songs and dances, his own music grew tighter, more concentrated,
chromatic and dissonant even though he never espoused atonality as a compositional technique. In the
1920s and ’30s his international fame spread, and he toured widely, both as pianist (usually in his own
works) and as a respected composer of works like the Dance Suite for orchestra (1923), the Cantata
profana (1934) and the Divertimento for strings (1939). In 1940 he moved to the United States to get
away from the Nazi expansion, and was given a teaching position at Columbia University in New York
City.
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LUCIANO BERIO (1925-2003) Born in Italy, Luciano Berio came from a musical family and his
father taught him how to play the piano. He attended the Milan Conservatory before he left Italy to
pursue his studies at Tanglewood in the United States, in 1951, which is where he became interested in
serialism. He also studied at the Ferienkurse für Neue Musik at Darmstadt. He won the Italian Prize for
his Laborintus II. When his Sinfonia came out in 1968 for the first time, his reputation reached new
heights. He also worked as a director for ICRAM in Paris during 1974-80 and was in-charge of electro
acoustic music. He opened a research center for music in Florence in 1987 and called it ‘The Tempo
Reale’.
ELMER BERNSTEIN (1922-2004) was born in New York City. During his childhood he performed
professionally as a dancer and an actor. He gravitated toward music by his own choice at the age of 12,
at which time he was given a scholarship in piano by Henriette Michelson, a Juilliard teacher who
guided him throughout his entire career as a pianist. She took him, to play some of his improvisations
for composer Aaron Copland who encouraged him during his studies. His name in music is synonymous
with creativity, versatility and longevity. The year 2001 marked his 50th anniversary as a feature film
composer who wrote the music for over 200 major film and television scores: he was a fourteen-time
Academy Award nominee, winning the Award in 1967 for his score for Thoroughly Modern Millie. Other
nominated scores include The Man with the Golden Arm, The Magnificent Seven, Summer and Smoke,
To Kill a Mockingbird, The Return of the Seven, Hawaii, True Grit, Trading Places, The Age of Innocence
and Far From Heaven.
LEONARD BERNSTEIN (1918-1990) Composer, conductor, author, music lecturer, and pianist; he
was among the first conductors born and educated in the United States of America to receive worldwide
acclaim. He was born in a Jewish family from Russian origin. He joined Harvard in 1935 and studied
composition at the Curtis Institute with Nadia Boulanger. In 1940, he studied at the Boston Symphony
Orchestra's newly created summer institute, Tanglewood, with the orchestra's conductor, Serge
Koussevitzky. His fame derived from his long tenure as the music director of the New York
Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his
music for West Side Story, as well as Candide, Wonderful Town, On the Town and his own Mass.
Bernstein was also the first conductor to give numerous television lectures on classical music: the
Young People's Concerts starting in 1954 and continuing until his death. As a composer he wrote in
many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral
works, opera, chamber music and pieces for the piano. Many of his works are regularly performed
around the world, although none has matched the tremendous popular and commercial success of West
Side Story.
ERNEST BLOCH (1880-1959) Ernest Bloch was born in 1880 in Switzerland. He studied violin with
Eugene Ysaye. He appropriated established and new musical elements into highly dramatic scores,
often influenced by philosophical or religious Jewish themes. A masterly composer of music for strings,
Bloch wrote four string quartets, Schelomo--A Hebrew Rhapsody (for cello and orchestra), and A Voice
in the Wilderness (for orchestra and cello obbligato), which are deeply emotional works and rank
among the most distinguished achievements in the neo-classic and neo-romantic idiom of early 20thcentury music. "The successful premiere by the Boston Symphony of Bloch's Trois Poemes Juifs in 1917
encouraged the composer to settle in the United States. He soon assumed the directorship of the
Cleveland Institute of Music and later the San Francisco Conservatory of Music. He also taught at the
University of California at Berkeley.
NADIA BOULANGER (1887-1979) Nadia Boulanger entered the Conservatoire at the age of 10,
studying composition with Gabriel Fauré; she also studied the organ with Louis Vierne. After winning
the Conservatoire's top prizes for harmony, counterpoint, fugue, organ and piano accompaniment,
Nadia Boulanger was placed second for the Prix de Rome with her cantata La sirène in 1908. Her
compositions, published between 1901 and 1922, comprise 29 songs for solo singer and piano; nine
larger-scale vocal works some with orchestra; five works for instrumental solo (organ, cello, piano); two
orchestral works; an opera La ville morte and a song cycle, Les heures claires, both composed jointly
with Raoul Pugno, for whom she composed a Fantaisie variée for piano and orchestra. Boulanger was
the first woman to conduct many major orchestras in America and Europe and as a teacher, she
influenced generations of young composers, especially those from the United States and other Englishspeaking countries: Aaron Copland, John Eliot Gardiner, Virgil Thomson, Elliott Carter, Philip Glass,
Quincy Jones.
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JOHN CAGE (1912-1992) John Cage was born in 1912, in Los Angeles, California. He was an
experimental music composer and writer, possibly best known for his piece 4′ 33″, often described
erroneously as "four and a half minutes of silence." He was an early writer of aleatoric music (music
where some elements are left to chance). Cage spent time in Europe as a young man, absorbing culture
and studying with composer Arnold Schoenberg in 1934. He returned to the United States in the mid
1930s as a composer with an avant-garde approach, composing pieces for percussion groups and for
what was called "prepared piano" -- a piano with various objects inserted between the strings for
percussive effects. He also experimented with tape recorders, record players and radios and was one of
the first musicians to create electronic music, such as Imaginary Landscape n°1, in 1939. His 1943
percussion ensemble concert at the Museum of Modern Art marked the first step in his emergence as a
leader of the American musical avant-garde.
ELLIOTT CARTER (1908-2012) Born in New York City in a wealthy family, Carter studied
composition in Harvard with Walter Piston and then from 1932 to 1935 in Paris with Nadia Boulanger.
Back in the U.S.A, at the worst time of the Great depression, he started his career with the Musical
Ballet Caravan. His first compositions are marked by a neoclassicism close to Stravinsky. Then later on,
the explorations of tempo relationships and texture characterize his music. Carter is recognized as one
of the prime innovators of 20th-century music. The challenges of works such as the Variations for
Orchestra, Symphony of Three Orchestras, and the concertos and string quartets are richly rewarding.
In 1960, Carter was awarded the Pulitzer Prize for his visionary contributions to the string quartet
tradition. Stravinsky considered the orchestral works, Double Concerto for harpsichord, piano and two
chamber orchestras (1961) and Piano Concerto (1967), to be "masterpieces".
AARON COPLAND (1900-1990) was born in Brooklyn, New York, and went to France as a teenager
to study music with Nadia Boulanger, who helped him create his own style. Copland wrote music with a
very “American" sound. Some of his most famous pieces are his ballets Billy the Kid, Rodeo, and
Appalachian Spring (Pulitzer Prize 1945). Billy the Kid and Rodeo are about the Wild West. He also
wrote music for movies Of Mice and Men and Our Town among others. One of his best known
compositions is Fanfare for the Common Man. He wrote it after the Cincinnati Symphony Orchestra
asked several composers to write fanfares during World War II. Copland’s music has become a great
part of American history.
HENRY COWELL (1897-1965) was born in California, where he grew up surrounded by a wide
variety of Oriental musical traditions, his father's Irish folk heritage, and his mother's Midwestern folk
tunes. Already composing in his early teens, he began formal training at age 16 with Charles Seeger at
the University of California. His use of varied sound materials, experimental compositional procedures,
and folk influences revolutionized American music. In addition to tone clusters evident in such works as
Advertisement and Tiger, Cowell experimented with the "string piano" in works like The Aeolian Harp
and The Banshee where strings are strummed or plucked inside the piano. Studies of the musical
cultures of Africa, Java, and North and South India enabled him to stretch and redefine Western notions
of melody and rhythm; mastery of the gamelan and the theory of gamelan composition led to further
explorations with exotic instruments and percussion.
HENRI DUTILLEUX (1916-2013) was born in Angers (France) in 1916. He began to study piano,
harmony and counterpoint at the Douai Conservatoire. From 1933 to 1938 he attended the Paris
Conservatoire, studying harmony and counterpoint. After his brief military service, Dutilleux returned to
Paris in 1940 where he earned a living as a pianist before becoming choral director at the Paris Opera in
1942. From 1945 to 1963 he held the position of director of music productions with the French radio
company ORTF. From 1961 to 1970 he taught composition at the Ecole Normale de Musique de Paris.
Even if he was acquainted with colleagues such as Darius Milhaud, Francis Poulenc, he never belonged
to a particular composition movement or group. Since his international breakthrough with Symphony
No. 1 (1951) he also composed chamber music, solo concertos and ballet music. 2007 saw the premiere
of the first version of the piece Le temps l'horloge for soprano and orchestra in Japan under the
direction of Seiji Ozawa and Renée Fleming. Correspondances (2003) also composed for soprano and
orchestra from letters of various authors – Rilke and van Gogh – that inspired Dutilleux. In the solo
concerto genre, he composed: L'arbre des songes (1958) and Sur le même accord (2002). Among the
numerous honours and prizes he was awarded the Grand Prix de Rome (1938), the French Grand Prix
National de la Musique (1967), the Praemium Imperiale (1994) in recognition of his work.
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ANTONÍN DVORÁK (1841-1904) was born in a village just north of Prague. His father was a
butcher, and he wanted him to become a butcher, too. Fortunately, an uncle noticed how musical
Antonin was, and paid for him to take organ lessons. In spite of the fact that he never took composition
lessons, Dvorak taught composition at the Prague Conservatory. And he also taught in New York City
for a couple of years. The last of his nine symphonies was written in the United States, and is
nicknamed for the fact that it hails "From the New World."
HANNS EISLER (1898-1962) was born in Leipzig. Eisler's family could not afford a piano, so he
learned music from books and scores. In World War I, he served in a Hungarian regiment (1916 1918), composed an oratorio Gegen den Krieg (Against War, a title revived later for his cantata with
words by Brecht), and afterwards became a student at the New Vienna Conservatory. Both Arnold
Schoenberg and Anton Webern gave him free private lessons in composition (1919 - 1923), influencing
his highly chromatic and harmonically dense and graceful early style (notably in the Piano Sonata, Op.
1). Eisler moved to Berlin to teach in 1925. The following year, he composed choral works: "Der neue
Stern"/The New Star and popular marching songs Solidaritätslied"/Solidarity Song, Einheitsfrontlied/The
United Front Song. In 1930, he began his lifelong collaboration with writer Berthold Brecht, immediately
producing Die Massnahme and one of the first important works of socialist realism, the moving cantata
Die Mutter (The Mother, 1932). After 1933, Eisler's works were banned by the Nazis. Forced into exile
for 15 years, he traveled throughout Europe and to the United States teaching and composing for films.
He began his largest work in 1935, the Deutsche Sinfonie, Op. 50 (1935 - 1957), a soul-moving,
dramatic, "anti-fascist cantata" in Eisler's tonal-serialist style.
GEORGE GERSHWIN (1898-1937) was born in Brooklyn, New York. He taught himself to play the
piano at a friend's house by following how the keys moved on a piano. When the Gershwins finally got
their own piano, George surprised everyone by sitting down and playing the songs he had learned by
himself. Then, he studied for a few years composition with Charles Hambitzer and harmony with
Edward Kilenyi. He liked to compose both classical and popular music, and found a unique way to
combine the two. He composed his most famous work, Rhapsody in Blue, in 1924, the same year he
also had a hit show on Broadway. Gershwin also wrote the opera Porgy and Bess. He is considered one
of the greatest American composers.
PHILIP GLASS (born 1937) studied at the University of Chicago, the Juilliard School and in Aspen
with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he
moved to Europe, where he studied with the great pedagogue Nadia Boulanger and worked closely with
the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip
Glass Ensemble. In 1976, he worked with the director Robert Wilson to write his opera Einstein on the
Beach, which met a world success. Glass is considered one of the most influential American composers
of the late 20th century. His music is also often controversially described as minimal music, along with
the work of the other "major minimalists" Terry Riley and Steve Reich. Glass sees himself as a
composer of "music with repetitive structures." Currently, he describes himself as a "Classicist", pointing
out that he is trained in harmony and counterpoint and studied such composers as Franz Schubert,
Johann Sebastian Bach and Wolfgang Amadeus Mozart with Nadia Boulanger.
JERRY HERMAN (born 1931) Raised in Jersey City, New Jersey by musically inclined middle-class
Jewish parents, Herman learned to play piano at an early age, and frequently attended Broadway
musicals. He composed the scores for the hit Broadway musicals Hello, Dolly! Mame, and La Cage aux
Folles. He has been nominated for the Tony Award five times. In 2009, Herman received the Tony
Award for Lifetime Achievement in the Theatre.
BERNARD HERRMANN (1911-1975) was born in New York City. After winning a composition prize
at the age of 13, he decided to concentrate on music, and went to New York University where he
studied with Percy Grainger and Philip James. He also studied at the Juilliard School and, at the age of
20, formed his own orchestra, the New Chamber Orchestra of New York. In 1934, he joined the
Columbia Broadcasting System (CBS) as a staff conductor. That is where he met Orson Welles, for
whom he wrote or arranged scores for radio shows including Welles's famous adaptation of H. G.
Wells's The War of the Worlds broadcast on October 30, 1938. He wrote Welles’s first film score Citizen
Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. In 1955,
he started to work with Director Alfred Hitchcock to whom he is closely associated. He wrote the scores
for almost every Hitchcock film from: The trouble with Harry (1955), Marnie (1964) a period which
included Vertigo, Psycho and The birds. He ends his career by writing for "the new Hollywood ",
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François Truffaut, Brian De Palma or Martin Scorsese. His music is characterized by a regular use of the
dissonance and the ostinato, the use of unusual instruments in the orchestra and the often minimalist
and hypnotic harmonious structures.
PAUL HINDEMITH (1895-1963) was the son of a craftsman and a maid in Hanau. He experienced
his childhood as a time full of deprivations and very strict parenting. His musical talent was recognised
early on. He began studying the violin at the age of 12 at Hoch's Conservatory in Frankfurt; and gained
his first experiences as an orchestral musician from 1913 onwards. At the end of the 1920s, Hindemith
was not only one of the most successful contemporary composers but also one of the outstanding
interpreters of his time. In 1927 he took over a professorship as composition teacher at the Music
Academy in Berlin. In February 1940, he used a lecture tour through the USA to settle in that country.
Hindemith's music was performed again in Germany with great success after the end of World War II.
In 1951 he began a teaching commitment at the University of Zurich, where he settled in 1953. With
several major works - Mathis the Painter, Ludus tonalis, Concerto for orchestra, Hindemith appears as a
major composer of the 20th century.
CHARLES IVES (1874-1954) Curious fate that of Charles Ives, composer for a long time considered
as amateur but whose production is now essential to the American music, due to Henry Cowell and
Elliott Carter who were among his first defenders. Born in Connecticut, he received his first music
lessons from his father, leader of a brass band. At the age of 14, Ives became the youngest organist of
the State, an activity which he pursued while studying composition with Horatio Parker at Yale
University. Charles Ives did not become a professional composer. Instead, he was a highly successful
businessman in the early days of life insurance. But he spent all his evenings and weekends doing what
he really loved, namely composing. He is the author of several hundred scores, choral or symphonic
works, chamber music, melodies and parts for piano. Influenced by hymns and military airs, innovator
in many domains, in particular the polytonalité, the micro-intervals and the open shape, he was late
recognized by his peers who awarded him however the Pulitzer prize in 1946 for his Third Symphony.
His most famous works are probably The Unanswered Question and the piano sonata Concord Sonata.
JOHN KANDER (1927) Native of Kansas City in Missouri, John Kander grew up in a musicians' family.
He began to study the piano at the age of 6. He studied composition at the University of Columbia, with
Jack Beeson and Douglas Moore. Venturing on the musical to Broadway, where he is a piano coach on
the shooting of West Side Story, he got acquainted in 1962 with the lyric writer Fred Ebb, with whom
he began a fruitful collaboration. Encouraged by their first successes, both artists began in 1965 the
writing of a musical for Liza Minelli: Flora, the Red Menace, who collected a triumph. The next year, the
second comedy, Cabaret -with Liza Minelli as well- won a Tony Award and Drama Critics Award, and
was adapted for the screen six years later, in 1972. John Kander and Fred Ebb wrote another famous
song called New York, New York in 1977 for the movie by Martin Scorcese, a song that Sinatra will also
add to his repertoire two years later.
ERICH WOLFGANG KORNGOLD (1897-1957) received a first musical education from his father,
Julius Korngold. He was then the pupil of Zemlinsky in Vienna. From the age of 12, he composed a trio
with piano and a first scenic music, Der Schneemann, created successfully in the Opera of Vienna. The
successes followed as well in Leipzig as in Berlin, his works were applauded, as his opera Die Tote
Stadt, created in Hamburg in 1920 and started again in numerous theaters all over the world. A few
years later, in 1934, he began a fruitful collaboration with the famous director Max Reinhardt, with the
movie adaptation of The Dream of a summer night for which he rearranged the music of Mendelssohn.
Sharing from now on his time between Europe and the United States, he taught at the Academy of
music in Vienna, managed light operas in New York and composed film scores. Rich in several operas,
in openings for orchestra, concertos for piano, violin, cello, and in numerous musical plays, his work
once admired by the young Gustav Mahler; very representative of a certain Viennese romantic spirit, fell
into oblivion after his death.
DAVID LANG (1957) Graduate of the universities of Iowa, Yale and Stanford. David Lang was the
pupil of Jacob Druckman, Hans Werner Henze, Martin Bresnick, Roger Reynolds and Henri Lazaroff.
Winner of the American Price of Rome in 1991, he was also elected Composer of year 2013 by Musical
America, he received the Pulitzer Prize in 2008 for his work based on Hans Christian Andersen's fable
The Little Match Girl and inspired by Bach's St. Matthew Passion, commissioned by Carnegie Hall for
Paul Hillier and his Theater of Voices. In 1987, he created with the composers Michael Gordon and Julia
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Wolfe the group Bang on a Can, who organizes since numerous events allowing the discovery and the
promotion of the American contemporary music. Lang's music is informed by modernism, minimalism,
and rock - and can perhaps be best described as post-minimalist. He was a major contributor to the
music performed by the Kronos Quartet in Requiem for a Dream. He is also well known for his work
with choreographers Edouard Lock and Benjamin Millepied.
GYÖRGY LIGETI (1923-2006) graduated from the Budapest Academy of Music in 1949 and began
an extended period of study of folk music. In the years of 1950-1956, he served as a professor at the
Budapest Academy. His music was largely unadventurous during this period, owing to restrictions by
the Hungarian Communist regime. He and his wife fled their homeland during the Revolution in 1956,
settling in Vienna. There, he began studying and composing at the Cologne-based Electronic Music
Studio from 1957 to 1959, producing the influential Artikulation (1958), one of his first electronic works.
He was one of the most important avant-garde composers in the later half of the twentieth century. He
stood with Boulez, Berio, Stockhausen, and Cage as one of the most innovative and influential among
progressive figures of his time. His early works show the influence of Bartók and Kodály, and like them,
he studied folk music and made transcriptions from folk material. In Apparitions (1958) and
Atmosphères (1961), he developed a style forged from chromatic cluster chords that are devoid of
conventional melody, pitch and rhythm, but instead grow into timbres and textures that yield new sonic
possibilities. He referred to this method as "micropolyphony."
HENRY MANCINI (1924-1994) was an American composer, conductor and arranger. He studied at
the Julliard School of Music in New York and is best remembered for his film and television scores. He
won a great number of Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in
1995. His best-known works include the jazz-idiom theme to The Pink Panther film series and the
theme to the Peter Gunn television series. Mancini had a long collaboration with the film director Blake
Edwards and won numerous Academy Awards for the songs in Edwards’ films, including Moon River
from Breakfast at Tiffany's, Days of Wine and Roses and for the score to Victor Victoria.
BOHUSLAV MARTINU (1890-1959) Martinu showed early promise as a violinist and was composing
when barely into his teens. He studied in the Conservatoire in Prague. By the age of 20, while earning
his living as an orchestral violinist, Martinu was composing prolifically and maintained this productivity
for the rest of his life. He was influenced by the music of Claude Debussy but soon an individual voice
began to emerge, characterised by motoric, insistent rhythmic patterns and a natural, folklike
melodiousness. In 1923 Martinu moved to Paris where he studied with Albert Roussel. The threatened
German invasion of Czechoslovakia prompted a work of protest, the powerful Double Concerto for two
string orchestras, piano and timpani – perhaps the best of the many concerti grossi he composed in the
1930s. With the Nazi invasion of France in 1940 Martinu and his wife fled to the United States. In 1942,
he began the first of what were to be six symphonies, the first five written at the rate of one a year. In
the mean time he took up a teaching position at the Curtis Institute in Philadelphia.
OLIVIER MESSIAEN (1908-1992) was one of the major composers of the 20th century. He entered
the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel among
others. His music is rhythmically complex as he was interested in rhythms from ancient Greek and from
Hindu sources; harmonically and melodically it is based on modes of limited transposition, which he
abstracted from his early compositions and improvisations. Messiaen also drew on his Catholic faith.
He travelled widely and wrote works inspired by diverse influences such as Japanese music, the
landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours
when he heard certain musical chords. For a short period he experimented with serialism. He was
appointed organist at the Église de la Sainte-Trinité in Paris in 1931, a post held until his death.
Messaien wrote his Quartet for the End of Time while held in a German prisoner of war camp during the
Second World War.
DARIUS MILHAUD (1892-1974) is the author of a prolific work the main element of which is the
use of polytonalité. He studied at the National Conservatory of Music, where his teachers included
composer Paul Dukas. His work with the Catholic poet and playwright Paul Claudel started in the
twenties continued during numerous years. As Claudel was appointed French minister to Brazil, in 1917
Milhaud accompanied him to Rio de Janeiro as an attaché and became enthralled by Brazilian popular
music. A number of his subsequent compositions reflected this influence, among them Saudades do
Brasil (1920), as well as the famous part The cow on the roof. The world reputation of Darius Milhaud is
8
definitively established in 1930 when its opera Christopher Columbus is given in Berlin. During World
War II, he left Paris for the United States as the Symphony orchestra of Chicago had commissioned him
a symphony. Milhaud's musical activities during the 1950s included the composition of his opera David,
commissioned by the state of Israel to commemorate the three thousandth anniversary of the founding
of Jerusalem. In the 1960s Milhaud composed several major works, including the oratorio Pacem in
terris, (1964)
SERGUEÏ PROKOFIEV (1891-1953) Born in Ukraine, Prokofiev was quickly encouraged to the
composition by Taneïev and studied in particular with Rimski-Korsakov and Tcherepnine. He also made
friends with Miaskovski. He stood out as pianist and composed in a percussif style, which allies strength
and lyric. In 1918, he moved to the United States, then to France where he frequently met with
Diaghilev, Milhaud, Stravinski, Poulenc, Ravel … However, he wished more and more to return to the
Soviet Union. In the 1930s, the government of the USSR commissioned some works from him:
Lieutenant Kijé, Peter and the Wolf, Romeo and Juliette. In 1937, he moved back to Russia and became
a musician of the Soviet regime and spent the last 19 years of his life in his home country. He worked
with the film-maker Eisenstein. Sergei Prokofiev died on March 5, 1953 as one of the most admired
composers of the twentieth century.
SERGUEÏ RACHMANINOV (1873-1943) was a conservatory student in St. Petersburg before
embarking on a career that would produce magnificent compositions in the romantic tradition. Known
for his rhapsodic piano-playing, some of his most well-known works include Prelude in C-Sharp Minor
and the symphonies The Isle of the Dead and The Bells. He left Russia in 1917 and travelled through
several European countries before he settled in America. His output as a composer slowed down
between 1918 and his death in 1943, while living in the U.S. and Europe, he completed six
compositions. (Aside from the need to constantly tour and perform to support himself and his family, he
was homesick): Rhapsody on a Theme of Paganini, one of his best known works, in 1934; Symphony
No. 3 (Op. 44, 1935) and the Symphonic Dances (Op. 45, 1940), his last completed work. Rachmaniov
died on March 28, 1943, in Beverly Hills, California.
STEVE REICH (1936) Born in New York, Steve Reich spent his childhood between his home town and
Los Angeles; those frequent journeys inspired him one of its masterpieces: Different Trains. In 1956, he
started studying composition with Hall Overton, and from 1958 to 1961 he studied at the Juilliard
School of Music with William Bergsma and Vincent Persichetti. Reich received his M.A. in Music from
Mills College in 1963, where he worked with Luciano Berio and Darius Milhaud. Already in his early
works, his interest for the pulsation and the repetition is already strongly present. In the 1960s, he
composed his first parts for magnetic tapes such as It Gonna Rain, based on the technique of the phase
shift which he will adapt later to the instrumental compositions. In 1966, he founded his own ensemble
of three musicians, which rapidly grew to 18 members or more. Since 1971, Steve Reich and Musicians
have frequently toured the world, and have the distinction of performing to sold-out houses at venues
as diverse as Carnegie Hall and the Bottom Line Cabaret.
NED ROREM (1923) Born in the state of Indiana, Ned Rorem studied harmony at the Chicago
conservatory. He has composed three symphonies, four piano concertos and an array of other
orchestral works, music for numerous combinations of chamber forces, ten operas, choral works of
every description, ballets and other music for the theater, and literally hundreds of songs and cycles.
Among his many commissions for new works are those from the Ford Foundation: Poems of Love and
the Rain, (1962), the Lincoln Center Foundation Sun, (1965); the Koussevitzky Foundation Letters from
Paris, (1966); the Atlanta Symphony String Symphony, (1985); the Chicago Symphony Goodbye My
Fancy, (1990); Carnegie Hall Spring Music, (1991), and the New York Philharmonic Concerto for English
Horn and Orchestra, (1993). Among the distinguished conductors who have performed his music are
Bernstein, Masur, Mehta, Mitropoulos, Ormandy, Previn, Reiner, Slatkin, Steinberg, and Stokowski.
ARNOLD SCHOENBERG (1874-1951) Austrian composer Arnold Schoenberg (or Schönberg) is
regarded as one of the most influential musical personalities of the 20th century. Even if he benefited
from lessons of his brother-in-law Zemlinsky, Schoenberg was before hand a self-taught, a free thinker,
who opened the way to modernity. His early works are quite traditional, but, he soon started composing
music that was atonal. He then developed a system called twelve-tone music, in which the twelve
chromatic notes of a Western scale are arranged arbitrarily into a "tone row." The tone row is then
9
transposed, reversed, inverted (played upside down) and that forms the basis for a composition. His
first completely twelve-tone composition was his Suite for Piano, composed in 1921-1923. This piece of
work had a tremendous influence on other 20th century composers, including Alban Berg and Anton
Webern. While some of his later music at times returned to a form of tonality, he and his followers were
convinced that their compositions were taking the next logical step in the evolution of Western music.
Like several other Austrian composers, Schoenberg emigrated to the United States in the 1930's to
escape the Nazis. He died in California in 1951.
ARTIE SHAW (1910-2004) was a bandleader, clarinet player, composer and writer. Born Arthur
Jacob Arshawsky in New York City, he is sometimes referred to as the King of the Clarinet. Shaw was
one of the leading jazz performers and bandleaders of the swing era of the 1930s and 1940s. He began
learning the saxophone when he was 13 years old, and by the age of 16, he switched to the clarinet
and left home to tour with a band. He was impressed when he heard several recordings of some of the
then avant-garde symphonic composers' work: Stravinsky, Debussy, Bartok, Ravel. This influence would
soon surface in Shaw's own work when he began to use strings, woodwinds. At age 21, he became the
top lead-alto sax and clarinet player in the New York radio and recording studios. He put together his
first orchestra in 1936, then, met a great success two years later by recording Begin the Beguine by
Cole Porter. In 1942, during World War II, he enrolled in the Navy and managed an orchestra intended
to support the troops of the Pacific. He spent the rest of his career between stage performing, and the
production of movies and plays. Besides his biography, Artie Shaw is also the author of a short novel
and a method of clarinet. His most famous work stays probably his Concerto for clarinet.
MAX STEINER (1888-1971) was an Austrian-born American composer of music for theatre and
films. He was a child prodigy who conducted his first operetta when he was 12 and he became a fulltime professional, either, composing, arranging or conducting, when he was 15. He was a time the pupil
of Brahms then Mahler. He emigrated in the United States in 1914, where he began a conductor's
career in New York, before joining Hollywood from 1929. Four years later, he became famous with the
composition of the soundtrack of the movie King-Kong. Later on, he composed over 300 film scores
with RKO and Warner Brothers, and was nominated for 24 Academy Awards, winning three: The
Informer (1935), Now, Voyager (1942), and Since You Went Away (1944). Besides his Oscar-winning
scores, some of his popular works include, Little Women (1933), Jezebel (1938), Casablanca (1942),
and the film score for which he is possibly best known, Gone with the Wind (1939).
IGOR STRAVINSKY (1882-1971) Born in Russia in 1882, Stravinsky is certainly one of the most
striking musical figures of the 20th century. The performance in 1909 in Paris of his ballet The Firebird
established the starting point of an immense career. His fame was reinforced with a 1911 production of
Petrouchka, and the Paris premiere of Rite of Spring in 1913. Although he frequently travelled to Paris
for work, Russia was still his home at the time. When World War I started, he was forced to leave
Russia for Switzerland, then, he settled in France from 1920 to 1939. During that time, he composed
his most notable works included a comic opera, Mavra (1942), an opera-oratorio Oedipus Rex (1927)
and the "white" ballet Apollo (1928). During the 1930s he composed The Symphony of Psalms,
Persephone, A Game of Cards, The Violin Concerto, Duo Concertante for Violin and Piano, Concerto for
Two Pianos and Concerto for Chamber Orchestra. In 1940, he moved to the United States and went on
to have a prolific and successful career in the States, which expanded to include Hollywood movie
soundtracks.
VIRGIL THOMSON (1896-1989) was a many faceted American composer of great originality and a
music critic of singular brilliance. Born in Kansas City, he studied at Harvard. After a long stay in Paris
where he studied with Nadia Boulanger and met Cocteau, Stravinsky, Satie, and the artists of “Groupe
des Six”, he returned to the United States where he became chief music critic for the New York Herald
Tribune from 1937 to 1951. Virgil Thomson composed in almost every genre of music. Using a musical
style marked by sharp wit and overt playfulness, he produced a highly original body of work rooted in
American speech rhythms and hymnbook harmony. His music was most influenced by Satie's ideals of
clarity, simplicity, irony, and humor. Among his most famous works are the operas Four Saints in Three
Acts and The Mother of Us All , both with texts by Gertrude Stein with whom he formed a legendary
artistic collaboration, scores to The Plow That Broke the Plains and The River (films by Pare Lorentz),
and Louisiana Story (film by Robert Flaherty). In addition to his compositions, he was the author of
eight books, including an autobiography.
10
EDGARD VARÈSE (1883-1965) American naturalized French composer, Edgard Varèse began his
studies with Vincent d'Indy in Schola Cantorum, he then attended the class of Widor at the
Conservatoire. A stay in Berlin allowed him to get to know Busoni. Back in Paris, he attended the
creation of the Rite of Spring of Stravinsky, work which will influence him for a long time. In 1915, he
emigrates in the United States and became passionate by sciences, technological universes and diverse
projects of lutherie electronics. It was also about this time that he began work on his first composition
in the United States, Amériques, which was finished in 1921. In 1928, Varèse returned to Paris to alter
one of the parts in Amériques to include the recently constructed Ondes Martenot. Then, he composed
his most famous non-electronic piece in 1930 entitled Ionisation, the first piece to feature solely
percussion instruments. In 1936 he wrote Density 21.5. By the early 1950s, Varèse was in dialogue
with a new generation of composers, such as Pierre Boulez and Luigi Dallapiccola, Pierre Schaeffer.
KURT WEILL (1900-1950) American naturalized German composer, Kurt Weill studied in Berlin with
Humperdinck and with Busoni. Heir of Mahler, Strauss and Schoenberg, he composed several scores in
the traditional kind -Concerto for violin, Symphony n°1-, until his decisive meeting with playwright
Berthold Brecht, with whom he developed productions such as his best-known works The Threepenny
Opera, (1928) which included the ballad Mack the Knife and Rise and Fall of the City of Mahagonny
elaborated as violent satire of capitalism. But a much different style animates other works with Brecht,
such as He Who Says Yes, an opera for students, and The Lindbergh Flight, a cantata. Hitler's ascent in
1933 forced Weill to leave Germany. His American career was as active as his European career. He had
two major successes on Broadway: Lady in the Dark (1941, Moss Hart and Ira Gershwin) and One
Touch of Venus (1943, Ogden Nash and S.J. Perelman).
ERIC WHITACRE (1970) began studying composition with Virko Baley and choir directing with David
Weiller at the University of Nevada. He then joined the Juilliard School and became the pupil of John
Corigliano and David Diamond. He began to compose at age 21. He is one of the most popular and
performed composers of our time, a distinguished conductor, broadcaster and public speaker. His first
album as both composer and conductor, Light & Gold, won a Grammy Award in 2012, reaped
unanimous five star reviews and became the no. 1 classical album in the US and UK charts within a
week of release. His second album, Water Night, was released in April 2012 and debuted at no. 1 in the
iTunes and Billboard classical chart on the day of release. It features seven world premiere recordings
and includes performances from his professional choir, the Eric Whitacre Singers, the London Symphony
Orchestra, Julian Lloyd Webber and Hila Plitmann. His compositions also feature on multiple other
recordings made in Europe, North America and Australasia.
JOHN WILLIAMS (1932) was born in New York and moved to Los Angeles with his family in 1948.
There he attended UCLA and studied composition privately with Mario Castelnuovo-Tedesco. After
service in the Air Force, he returned to New York to attend the Juilliard School, where he studied piano.
He is one of the most popular and successful American orchestral composers of the modern age, and
the winner of five Academy Awards, 17 Grammys, three Golden Globes, two Emmys and five BAFTA
Awards from the British Academy of Film and Television Arts. Best known for his film scores and
ceremonial music, Williams is also a noted composer of concert works and a renowned conductor. His
scores for such films as Jaws, E.T.: The Extra-Terrestrial, Schindler's List, as well as the Indiana Jones
series, have won him multiple awards and produced best-selling recordings, and his scores for the
original Star Wars trilogy transformed the landscape of Hollywood film music and became icons of
American culture. He has composed the music and served as music director for nearly eighty films,
including Saving Private Ryan, Amistad, Seven Years in Tibet, The Lost World, Rosewood, Sleepers,
Nixon, Sabrina, Jurassic Park, JFK, Hook, Born on the Fourth of July, Empire of the Sun, The Witches of
Eastwick, …
11
The list of the invited artists
Orchestras
-
Orchestre Philharmonique de l’Oural, sous la direction de Dmitri Liss
Sinfonia Varsovia, sous la direction de Jean-Jacques Kantorow
Orchestre Symphonique Divertimento, sous la direction de Zahia Ziouani
Orchestre de Picardie, sous la direction de Arie Van Beek
Orchestre d’Auvergne, sous la direction de Roberto Fores Veses
Orchestre Poitou-Charentes, sous la direction de Jean-François Heisser
Orchestre National des Pays de la Loire, sous la direction de Pascal Rophé
Orchestre de Pau Pays du Béarn, sous la direction de Fayçal Karoui
Conductors
-
Roberto Fores Veses
Jean-François Heisser
Jean-Jacques Kantorow
Fayçal Karoui
Lawrence Foster
-
Dmitri Liss
Pascal Rophé
Arie van Beek
Alexander Vedernikov
Zahia Ziouani
Ensembles
-
Ry Quest, Ensemble Instrumental de la Roche-sur-Yon, sous la direction de Ludovic Potié
Ensemble adONF – les percussionnistes de l’Orchestre National de France, Emmanuel Curt
Collectif 0, Stéphane Garin
Utopik, sous la direction de Michel Bourcier
Ensemble Rhizome, sous la direction d’Yves Krier
Ensemble Da Camera, sous la direction de Georges Lambert
Harmonies
-
Musique de l’Air, sous la direction de Claude Kesmaecker
Nantes Philharmonie, sous la direction de Frédéric Oster
Brass Band – Big band
-
Big Phat Band, sous la direction de Gordon Goodwin
Côte Ouest Big Band, sous la direction de Jean-Philippe Vidal
Big Band de l’Université de Musique Frédéric Chopin, sous la direction de Piotr Kostrzewa
Regional groups
-
Orchestre Symphonique 3ème Cycle, sous la direction de Valérie Fayet
Brass Band des Pays de la Loire, sous la direction de Nicolas Leudière
Ensemble Musical Crescendo de Parcé sur Sarthe, sous la direction d’Isabelle Cauchas
Ensemble Régional de Percussions des Conservatoires de Nantes, La Roche-sur-Yon
et Saint-Nazaire, sous la direction de Hédy Réjiba
Aperto ! Ensemble de flûtes traversières de Nantes, sous la direction de Gilles de Talhouët
Chœur de clarinettes du 3ème cycle des Conservatoires de Nantes, sous la direction
d’Yves Sévère
Ensemble de violons du Conservatoire de Nantes, sous la direction de Marie-Violaine Cadoret
Ensemble de saxophones de l’agglomération nantaise, sous la direction de Nicolas Herrouët
Groupe de musique de chambre du Conservatoire de Nantes, sous la direction de
Gérard Chenuet
Octuor de guitares du Conservatoire de Nantes, sous la direction de Michel Grizard
Orchestre d’Harmonie d’Hennebont et de Lanester (OH²L ), sous la direction de Matthieu Langlet
Orchestre d’Harmonie de Challans, sous la direction de Julien Tessier
Orchestre d’Harmonie de Cholet, sous la direction de Hervé Dubois
Orchestre d’Harmonie de la Musique de l’Air sous la direction de Claude Kesmaecker
Orchestre d’Harmonie de La Roche sur Yon, sous la direction de Vincent Jaillet
Orchestre d’Harmonie de Saint Julien de Concelles, sous la direction de Xavier Jamin
Orchestre d’Harmonie Herblinois, sous la direction de Philippe Chauvin
Vendée Jazz Orchestra, sous la direction de Patrick Charnois
-
American Spiritual Ensemble
-
Gospel
Barbershops
-
Crossroads Quartet
13 Choirs
-
Vox Clamantis, sous la direction de Jaan-Eik Tulve
Ensemble Vocal Lausanne, sous la direction de Nicolas Farine et Michel Corboz
Voces 8
Chœur de Chambre Les Éléments, sous la direction de Joël Suhubiette
Eclats de voix, Gérard Baconnais
Ensemble Vocal Seguido, Valérie Fayet
Chœur Callisto, Élisabeth Baconnais
Institut Musical de Vendée, sous la direction de Odile Amossé
-
Thomas Enhco Trio
Jazz
-
Paul Lay
-
Trio Les Esprits
Trio Wanderer
Quatuor Besamim (Lauréats du
concours Sforzando)
West-Side Quartet
Etudiants CNSM
Quatuor de guitares de
Versailles
Chamber music
-
Imani Winds
Quatuor Modigliani
Quatuor Prazák
Quatuor Bela
Ensemble Zellig
Trio Owon
Quatuor Velasquez
Trio Chausson
Trio Pennetier-Pasquier-Pidoux
-
Iddo Bar-Shaï
Boris Berezosvky
Hervé Billaut
David Bismuth
Lidija Bizjak
Sanja Bizjak
Florent Boffard
Frank Braley
Bruce Brubaker
Alphonse Cemin
Bertrand Chamayou
Dana Ciocarlie
Claire Désert
Shani Diluka
Simone Dinnerstein
Jean Dubé
Abdel Rahman El Bacha
Rémi Geniet
-
Piano
-
Alexander Ghindin
Marie-Catherine Girod
Jay Gottlieb
Nathanaël Gouin
Etsuko Hirose
David Kadouch
Mari Kodama
Momo Kodama
Andreï Korobeïnikov
Claire-Marie Le Guay
David Lively
Joseph Moog
Jean-Frédéric Neuburger
Luis-Fernando Perez
Matan Porat
Emmanuel Strosser
Vanessa Wagner
Laurent Wagschal
-
Gérard Caussé
Miguel Da Silva
Strings
Violin
Viola Alto
-
Murray Taï
Solenne Païdassi
Nicola Benedetti
Olivier Charlier
Geneviève Laurenceau
Nicolas Dautricourt
Régis Pasquier
Sayaka Shoji
Laurent Korcia
Hugues Borsarello
Cello
Double Bass
-
Marc Coppey
Henri Demarquette
Maximilian Hornung
Yan Levionnois
Edgar Moreau
Pénélope Poincheval
Voce
-
Barbara Hendricks et Mathias Algotsson
-
Michel Grizard
Guitars
14 Winds
Romain Guyot, clarinette
Mariam Adam, clarinette
Juliette Hurel, flûte
Pascal Moraguès, clarinette
-
Takenori Nemoto, cor
Raphaël Sévère , clarinette
Emilie Heurtevent, saxophone
-
Daniel Ciampolini
-
Florent Jodelet
-
Broadway enchanté
-
Schlimé Tristano Francesco
-
Percussions
Other
Current musics
-
Murcof
15 Cultural mediation initiatives
From the outset, the La Folle Journée festival has proven that it is possible to adopt a new
approach to classical music that meets the expectations of the most knowledgeable music
lovers as well as a much broader audience. Since the festival's early years, awarenessraising activities have enabled to involve local people without easy access to the city's
cultural offer.
La Folle Journée is part of the City of Nantes' 'Art en Partage' (Sharing Art) local culture
policy, which aims to create conditions for equal access to art and culture for all, to create
social links between the people of Nantes, and to provide a venue for expression, openmindedness and cultural enrichment.
The mediation plan thus has an impact in artistic and social terms, through activities that
aim to encourage awareness of works and audience expression. There is also a training
dimension since various groups of people are involved in the organization of the event.
The programme of activities – some of which are year-round – is designed to reach an
extremely diverse range of audiences including school children, early school leavers or
young people in occupational integration programmes, students, vulnerable people, the
disabled, dependent elderly people, etc.
This programme is developed by working in close cooperation with professionals of the
relevant fields and with the financial support of corporate patrons.
In 2010, the City of Nantes set up a Cultural Development Endowment Fun, which has
attracted a great number of patrons and which reflects the council’s commitment to
access to culture for all and to making the city a vibrant place. The Fund facilitates access
to concerts thanks to a special discounted ticket policy which, in 2013, benefited some
12,000 people.
16 Practical Information La Folle Journée in Nantes
Des Canyons aux Étoiles
Tickets will be on sale
From Saturday, January 11th, 2014
At la Cité, Nantes Event Center
Saturday, January 11 : from 8.00 am
Sunday, January 12 : from 1.00 pm
From Monday, January 13 : open from 1.00 pm to 6.00pm
(closed Saturday and Sunday)
Internet : www.follejournee.fr
Starting on Sunday, January 12 from 10.00 am
Payment by credit card only
Séjours « Folle Journée 2014 »
from January 29 to February 2, 2014 - Hôtel in Nantes and concert tickets on
www.nantes-tourisme.com, 0892 464 044 (0.34 €/mn)
Organisers
SAEM La Folle Journée
Président : Yannick Guin
Directrice Générale : Michèle Guillossou
Artistic Direction
Le CREA
Président : Jacques Dagault
Directeur : René Martin
17
La Folle Journée is a cultural event
Conceived by the artistic agency CREA who insures the artistic programming,
Introduced by the CITY OF NANTES AND
Produced by the SAEM LA FOLLE JOURNÉE
The City of Nantes and
the SAEM La Folle Journée
Wish to thank their partners
18
Les Partenaires Institutionnels
Avec le soutien de l’Ambassade des Etats-Unis d’Amérique
Les Partenaires Officiels
Les Partenaires
GDF SUEZ
GDF_SUEZ_COFELY_INEO_CMYK
15/11/2013
GDF SUEZ
GDF_SUEZ_COFELY_SERVICES_CMYK
14/11/2013
24, rue Salomon de Rothschild - 92288 Suresnes - FRANCE
Tél. : +33 (0)1 57 32 87 00 / Fax : +33 (0)1 57 32 87 87
Web : www.carrenoir.com
RÉFÉRENCES COULEUR
24, rue Salomon de Rothschild - 92288 Suresnes - FRANCE
Tél. : +33 (0)1 57 32 87 00 / Fax : +33 (0)1 57 32 87 87
Web : www.carrenoir.com
RÉFÉRENCES COULEUR
C100 M100 Y0 K0
C0 M0 Y0 K80
C100 M100 Y0 K0
C0 M0 Y0 K80
Le Club d’Entreprises de la Folle Journée
Les sociétés membres de ce Club bénéficient de la notoriété de la manifestation, notamment
pour leur communication : les prestations offertes valorisent l’image des entreprises,
permettent de générer des contacts commerciaux efficaces et d’organiser des opérations de
relations publiques et de communication interne.
Adecco,
Aéroports du Grand Ouest,
Agence Internationale Nantes Saint Nazaire,
Air France,
Alain Afflelou,
Allianz,
Audio 2000,
Axes Concession Xerox,
Banque Populaire Atlantique,
Banque Tarneaud,
Bati-Nantes,
Caisse d’Épargne Bretagne Pays de Loire,
CCI de Nantes St-Nazaire,
CIC Ouest,
Cogédim Atlantique,
Colas Centre Ouest,
Crédit Mutuel Arkéa - Arkéa Banque
Desevedavy Musique,
EDF,
Eiffage,
Eluère & Associés,
Evenday-Bateaux Nantais,
Exapaq,
Francelot-Khor
GE Factofrance,
Groupama Loire Bretagne,
Groupe des Assurances Atouil,
GSF Celtus,
Icade Promotion,
Idéa Groupe,
Indosuez Private Banking,
Kaufman & Broad,
Renseignements :
Alexandra Gaudet
02 51 88 36 36
[email protected]
La Maison Hebel Traiteur,
LAD-SELA,
LCL,
Loire Océan Développement,
LM Y&R Communication,
Minco,
Nantes Métropole Aménagement,
Nantes Métropole Développement,
NBGH International,
NGE,
Natixis,
Orange,
OTI - Groupe Legendre,
P G & A Expert-comptable-Commissaire aux comptes,
Randstad,
Régionsjob,
Samoa,
La SCET,
Selectour Préférence,
Spie Batignolles Ouest,
Stratégie Finance et Patrimoine,
Tout se Loue Réception,
Traiteur Guyon,
UBS (France) S.A.,
Unacod,
Val d’Evre Traiteur,
Vinci Construction,
VM Concept,
Voyages Chantreau,
World Trade Center Nantes Atlantique