Ivo Malec Videos
französischer Komponist
Gedenken 2025 (Geburt: Ivo Malec)
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- Dirigent, Komponist, Musikpädagoge, Hochschullehrer, Maler
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2024-04-30
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Ivo Malec Françoise Kubler Adler 1966 2013
Ensemble Accroche Note Françoise Kubler, soprano / Elodie Adler, harpe Enregistrement et Vidéo par Frédéric Apffel Vendredi 5 juillet 2013 à l'Eglise du Bouclier, Strasbourg
Claude Ballif Noël Gallon Olivier Messiaen Boris Blacher Luigi Nono Bruno Maderna Luciano Berio Karlheinz Stockhausen Iannis Xenakis François Bayle Ivo Malec Hermann Scherchen Berlioz 1924 1954 1955 1956 1958 1959 1961 1962 1963 1965 1968 1971 1979 1984 1986 1988 1990 1991 1992 1994 1999 2004
Claude Ballif - Compositeur français né le 22 mai 1924 à Paris, mort le 24 juillet 2004 à Poissons, Haute-Marne. Claude Ballif a étudié au Conservatoire de Paris dans les classes de Noël Gallon, Tony Aubin et Olivier Messiaen. Puis à Berlin en 1954 auprès de Boris Blacher et Josef Rufer. Enfin à Darmstadt avec Luigi Nono, Bruno Maderna, Luciano Berio et Karlheinz Stockhausen. Il obtient en 1955 le Premier prix de composition musicale au concours international de Genève pour son oeuvre orchestrale Lovecraft et son premier Quatuor à cordes. En 1956 il publie dans la Revue Musicale son traité : Introduction à la métatonalité. De retour en France en 1959, il entre comme assistant au GRM où il restera jusqu'en 1963. Rencontrant Iannis Xenakis, François Bayle et Ivo Malec, Claude Ballif écrit deux pièces pour bande : Etudes au ressort (1961) et Points, Mouvements (1962). Mais l'essentiel de sa production demeure instrumentale, avec notamment la création en 1965, au Théâtre des Champs-Elysées, d'A Cor et à Cri pour orchestre sous la direction d' Hermann Scherchen . Claude Ballif participe à la création de l'Université de Paris VIII en 1968 et publie la même année un ouvrage sur Berlioz, il reçoit de nombreux prix et enseigne l'analyse et la composition au Conservatoire de Paris de 1971 à 1990. Depuis, il enseigne ces mêmes matières au Conservatoire de Sevran. En 1984 le Festival Estival de Paris le choisit comme compositeur de l'été et organise toute une série de concerts et de manifestations autour de son oeuvre. Il est Chevalier des arts et lettres en 1984; en 1986 il reçoit le Grand Prix SACEM de la Musique Symphonique; en 1991 il est Officier dans l'Ordre national du mérite, puis Commandeur en 1994. Il obtient le Grand Prix national de la Musique en 1999. Il a publié de nombreux ouvrages sur la musique: Introduction à la Métatonalité, Richard Masse, Paris 1956; Berlioz, Seuil, Paris 1968; Voyage de mon oreille, «10/18», Union Générale d'Édition, 1979; Économie Musicale, Méridiens-Klincksiec, Paris 1988; L'habitant du Labyrinthe : Entretiens avec Alain Galliari, Pro Musica 1992. Un numéro spécial de la Revue Musicale lui a été consacré en 1968. Claude Ballif s'est toujours situé en marge des écoles et des systèmes, auteur d'une oeuvre abondante, il a peu varié dans son esthétique depuis ses débuts de compositeur, fidèle à une écriture atonale (mais non sérielle), usant de micro-intervalles, où l'émotion affleure constamment. Compositeur catholique, Claude Ballif a signé plus d'une pièce d'inspiration sacrée.
Francis Dhomont Olivier Messiaen Pierre Schaeffer Bayle Berio Chion Dufour Malec Reibel Risset Stockhausen Varèse Xenakis Musica Nova 1950 1998 1999
AvatArsSon — 2nd of the 4 works in the Cycle du son — was realized in 1998 in the Syter studio of Ina-GRM and in the composer's studio, and it premiered on May 11th, 1998 as part of Ina-GRM's Cycle acousmatique at the Salle Olivier Messiaen of the Maison de Radio France in Paris(France). AvatArsSon was a special commission of the Ministère de la Culture (France) and of Ina-GRM for the 50th anniversary of musique concrète. AvatArsSon was awarded the first prize at the 2nd Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 1999) and, in a shorter version (14:20), the second prize in the Musica Nova 1998 International Competition of Electroacoustic Music (Prague, Czech Republic). AvatArsSon was recorded on the disc 2°/3° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer. To "the inventors of the treasure" (Bayle, Berio, Chion, Dufour, Ferrari, Henry, Malec, Parmegiani, Reibel, Risset, Schaeffer,Stockhausen, Teruggi, Varèse, Xenakis, Zanési, and others too numerous to name) This presents an original aspect of the "new music" (as Schaeffer called it in 1950) one that, thanks to the concept of the sound object, brought about its accession to a multidimensional musical world. But it is above all a metaphor for, and a short cut across, some of the stages of the sound odyssey — heard for itself and for its unveiled "images" (Bayle) — and its performance. It also recalls the fertile guiding drift that allows the attentive ear to discover the furtive traces of homage. Quotations used in this piece: At the beginning and sometimes : some short quotations (with treatments or not) of Étude aux objets by Schaeffer and of Francis Dhomont own work "Novars". - 00:18 "Pseudo" P. Henry (my own door) - 01:53 Parmegiani : De natura sonorum - 03:13 Reibel : Variations en étoile - 03:47 Zanesi : Stop l'horizon - 06:19 Bayle : Espaces inhabitables (Jardins de rien) - 09:12 Stockhausen : Gesang - 09:35 Berio : Omaggio a Joyce - 09:43 Malec : Nuda - 09:55 Chion : Requiem - 10:05 Ferrari : Hétérozygote - 10:28 Chion : La ronde - 11:33 Dufour : Bocalises - 11:57 Teruggi : Instants d'hiver - 12:13 Dufour : Bocalises - 12:49 Risset : Suite for little Boy - 13:17 Varèse : Ionisation - 15:11 Ferrari : Hétérozygote - 15:15 Xenaxis : Diamorphoses 29
Philippe Manoury Stern Debussy Messiaen Boulez Pierre Sancan Max Deutsch Claude Ballif Ivo Malec Michel Philippot Claude Helffer Brazil Kafka Kataoka Chancellor John Luther Adams Lukas Ligeti Ligeti Saunders Accentus Eighth Blackbird Baltimore Symphony Orchestra Théâtre Châtelet 1952 1974 1978 1981 1998 2001 2003 2006 2007 2010 2012 2013
Performed by Sharif Mamoun & Jeff Stern ABOUT THE PIECE: The book includes six pieces of keyboards, relatively short, for the various sets of percussion keyboards. Techniques related to keyboards were quite widely developed during the twentieth century. If we compare the use of the xylophone in Debussy to that in Messiaen and Boulez, there is a breakthrough in front, bringing it (marimba and xylomarimba included) to a true solo role. However, in recent years, techniques for continuous playing with four sticks has grown further opportunities. It is not to develop a technique, but to make musical patterns that were impossible even a few years ago: polyphony, and the succession of agreements of different kinds in a certain speed. This greatly motivated my choice for keyboards. On the other hand, the construction of new acoustic instruments like sixxens allowed me to address cases of new figures in the sense that the notion of height is no longer dominant, or rather, becomes more complex. Part II: Duo de marimbas (one player per instrument) Twenty-six sequences composed this piece, ranging from amorphous structures (simple glissandi), through intermediate states (broken lines but directional) to sequences completely polarized around the center. I focused on the music, made of dots connected by lines, a game "cast" can simulate legato phrasing by the high speed with which certain features are to be played. -- Philippe Manoury ABOUT THE COMPOSER: Born in Tulle in 1952, Philippe Manoury studied the piano (with Pierre Sancan) then, at the École Normale de Musique in Paris, composition (with Gérard Condé and Max Deutsch) as well as harmony and counterpoint. Finally, at the Paris Conservatory he completed his training with Claude Ballif (musical analysis), and Ivo Malec then Michel Philippot (composition). From the age of 19 he was active in the main centres of contemporary music performance (Royan, La Rochelle, Donaueschingen, London, etc.), the premiere in 1974 of Cryptophonos by Claude Helffer drew him to the attention of audiences. He was resident in Brazil from 1978 to 1981 where he held classes and gave lectures in various universities (Sao Paulo, Brasilia, Rio de Janeiro, Salvador). In his recent work Philippe Manoury has shown that the voice is a form of expression he has especially liked to cultivate: as a solo surrounded by instruments (Cruel Spirals, in 2007), within a vocal ensemble (On-Iron in 2006 and Trakl Gedichte in 2007 were the result of a collaboration with Accentus) and in operatic form (60e Parallèle, in 1998 at the Théâtre du Châtelet, Paris; KÖ, based on Kafka's The Trial, in 2001 at the Paris Opera; La Frontière, in 2003 at the National Theatre in Orléans). ABOUT THE PERFORMERS: Sharif Mamoun is a diverse percussionist who has an equal passion for performance and education. Mr. Mamoun attended the University of Massachusetts Amherst, receiving his Bachelor's Degree in Music Education and Master's Degree in Music Performance, while under the tutelage of Eduardo Leandro, Ayano Kataoka, and Thom Hannum. He was fortunate enough to receive the Chancellor's Fine Arts Scholarship Award as well as become a nominee for the Howard Lebow Memorial Scholarship in his tenure at the university. As a music educator, Sharif has taught and arranged for numerous band programs throughout the Northeast, and has also taught some of the finest drum and bugle corps in the world. In 2010, Sharif was on staff with the Madison Scouts Drum & Bugle Corps, and is currently on staff with the Carolina Crown Drum & Bugle Corps. / Percussionist Jeff Stern performs across the US as a soloist and with ensembles large and small. He has appeared with some of today's most celebrated artists, including eighth blackbird and So Percussion, and collaborated with composers such as John Luther Adams, Lukas Ligeti, and Stuart Saunders Smith. As an educator, Jeff currently teaches inner-city students at the Baltimore Symphony Orchestra's youth program, OrchKids, where he established the organization's first percussion department. From 2010-2012, he worked with the Spirit of America Band program on Cape Cod instructing various ensembles, running sectional rehearsals, and teaching private lessons. In Fall 2013, he will join the faculty of the Peabody Conservatory's Preparatory as the Director of their percussion program.
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