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July 2016

Jul 13
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Ensemble Psallentes

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The ensemble Psallentes was founded by Hendrik Vanden Abeele in 2000. Psallentes’s professional singers research Gregorian chant in various stages of its historical development. The group’s primary focus is Gregorian chant from the late Middle Ages and the Renaissance.

Psallentes has recorded the music of Johannes Brassart (2000), Arnold Lantins (2001) and Pierre de la Rue (2002 and 2006, Diapason d’Or). In 2006, the ensemble released three new CDs: a collaboration with the Capilla Flamenca (based on the Marian Music of Obrecht – Musique en Wallonie), a project with the French ensemble Millenarium (Messe des Fous – Ricercar), and finally, the fifteenth century Ghent version of the tenth century Liège service of the Holy Trinity (Ricercar). Previous recordings include a collaboration withMillenarium in 2007, based on the Llibre Vermell de Montserrat (Spain). Another notable album was the 2008 release of Bellum et Pax, in collaboration with Capilla Flamenca.

Psallentes has performed at countless festivals, large and small, in Flanders and across Europe.

The core members of Psallentes are Conor Biggs, Pieter Coene, Paul Schils, Philippe Souvagie and Hendrik Vanden Abeele. Director Hendrik Vanden Abeele is pursuing doctoral studies at the University of Leiden. He is also researching Gregorian chant in the Southern Netherlands from 1250 to 1550.

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Jul 13
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Mater Dolorosa©Jean-François Mariotti

Ensemble Mora Vocis

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Mater Dolorosa©Jean-François Mariotti

The singers of Mora Vocis, performing by heart and with flowing movement, captivate each form of architectural heritage. With their whirls of sound, the artists interact with the acoustic characteristics of each venue, drawing the attention of the public to parts of the edifice they often no longer even notice. Each venue, whether it be of historic interest or purely unconventional, becomes an integral part of the journey.

A dash of humour and an unexpected flight of fancy provide the finishing touches to each production.

Somewhat like builder journeymen, Mora Vocis is inspired as much by the physical medium as the beauty of the medieval manuscripts.

Rather than attempting to produce a historical reconstruction, the singers simply share their passion for these musical treasures, from virtuosic neumæ to the complex polyphony of Ars subtilior.

Many a contemporary composer and music maker has been won over by medieval thinking. A poem, canticle or melody from the Middle Ages serves as inspiration for compositions that fit the voices of Mora Vocis like a glove. The singers enjoy interpreting these new scores with the same uncompromising approach they adopt for the early repertoire.

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Jul 13
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Ensemble Le Piano Ambulant

Ensemble Le Piano Ambulant

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Ensemble Le Piano Ambulant

In 2001, a collective of Lyon musicians that were feeling adventurous founded The Ambulant Piano to play classical music “differently, and in different contexts”.

The musicians seek to shed new light on the classical repertoire by using transcription and by staging their performances. This taste for the off-beat has led them to collaborate with a wide variety of artistic disciplines, leading to a whole new performance frontier, with productions tailor-made for each repertoire.

Thus the company incorporates, depending on the production, live performance, film, theater, shadow puppets… Debussy is combined with video art, Stravinsky with carnival, and Wagner with amplified music.

The Ambulant Piano is a collegiate framework in which each musician participates in the musical arrangements and staging decisions. Each musician contributes an individual sensibility to the different projects.

In addition to performances in traditional concert halls, The Ambulant Piano has strived to go where they are least expected, right from the start. Thanks to their flexible productions, which are technically independent from one another, the company dares to go where no other has gone before.

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Jul 13
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Ensemble et Chœur L’Échelle

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The scale is a wonderful tool which has accompanied man throughout the ages.

Indispensable for navigators, who measured his ropes knot by knot, scales are present in every part of the ships which gave birth to the earliest international merchants and economic empires.

The patterns of scales can be seen along mats, sails, hulls and on the piles pushing into the water, and help balance the ballast in the hold of the ships.

So it was that during the Renaissance certain ports in the East and in Asia were called Echelles, before becoming the exotic trading-posts of the Indies.

At the same time, the word scale designates everything which grades, measures, climbs, situates, and gives the possibility of reaching, balancing and progressing : hence Jacob’s ladder, the scale of values, shades of colour and the different musical scales. Still essential to man, scales permit him to organise his place in the biodiversity of his cultural and physical world.

The Ensemble l’Échelle declares itself partisan of certain Renaissance music, for the profoundly humanist ideas which it expresses. The chamber musicians who make it up seek to pool their musical talent in the search for an appropriate historic verisimilitude.

In the polyphony of the 16th century, the laws of counterpoint direct that each voice is of equal importance. On this secure basis, each line evolves according to the opinion and the manner of the others treating the same material. The music comes to life through the exercise of a common approach and the expression of common thought.

The artistes of l’Échelle seek firstly to respect, then go out to meet, and finally to surprise their public. They seek to modify classical concert-giving mode, the better to attract a new regard from a new public by exposing new facets of their chosen repertoire.

Aware of the particular architecture and different acoustics of each performing space, they propose a “made to measure” organisation of that space according to the programme, to give each listener a truly unique experience. And in their desire to surprise that listener, they also propose the juxtaposition of different kinds of performers – circus artists, dancers, comedians, philosophers and poets to share the stage with the musicians as equal partners.

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VENECIA par l’ensemble L’Echelle (CUENCA, Espagne 2012) from classiquenews.com on Vimeo.

Jul 13
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Ensemble Enthéos

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The work of Plato, translated and edited in the 15th century, opposes the traditional interpretive technique, preferring the poet’s inspiration, and is a creative force, a fury. The term “enthusiastic” comes from the Greek “enthusiasmos,” and describes the sort of divine possession that takes over the poet, rendering him “engodded” or “entheos.” The creative ardour of Renaissance artistes has produced important literary and musical materials that Ensemble Entheos has chosen to revive through their concerts and shows.Created in 2005, Ensemble Entheos explores the musical repertoire from the end of the Middle Ages and the Renaissance connected to the courts of the French dukes of Guise and Lorraine. Strong in its research of history of art, organology, and rhetoric, Entheos subscribes to a reasoning of memory and scientific rigour. However, as important as this research-based approach is, Entheos’ concerts and performances are occasions to show the ties between literature, art, music, and history. We want to be loyal to the ways of thinking of Renaissance artists, for whom all creation was also a respect for aesthetic canons and imitation of the Greeks.Coming from ensembles such as Akadémia, Le Concert Spirituel, Le Poème Harmonique, Les Arts Florissants, Les Percussions de Strasbourg, and Sagittarius, the artists of Entheos have worked under the direction of conductors such as Martin Gester, Valérie Fayet, and Pierre Cao. The instrumentalists of Entheos play on facsimiles of 16th century instruments and conduct their own research on facture, bows, reeds, mouthpieces, and methods of playing. The close examination of the works themselves constitutes, however, the heart of Entheos’ artistic project.

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Jul 13
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Nox

Ensemble de Musique Interactive

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Nox

Founded in 2001 by composer Jacopo Baboni Schilingi, the Interactive Music Ensemble is dedicated to musical creation using interactive technologies.

An ensemble of variable size depending on the project, the Interactive Music Ensemble has been supported since 2011 by Franche-Comté’s Regional Management for Cultural Affairs.

The Interactive Music Ensemble’s primary sponsor is the Camille Fournet Foundation.

Jacopo Baboni Schilingi comes from an “art music” background in which writing and interactivity are paramount.  He is one of the most representative composers of his generation, and recognised as such in conservatories and classical concert halls: he was associated artist at the Saline Royale d’Arc-et-Senans, composer-in-residence at IRCAM, curator of the annual worldwide Prisma conference, and associated artist of the EMW Festival in Shanghai. Mr. Baboni Schilingi is equally at home in interdisciplinary modes of artistic expression which combine visuals, architecture and interactions with the public in new contexts.  His work with French-born American visual artist Arman in the 2000s initiated a series of creative collaborations with Miguel Chevalier, Jean-Pierre Balpe, Alain Fleischer, Elias Crespin, Sarkis, and others. Mr. Baboni Schilingi is artistic director of the Interactive Music Ensemble, which he founded in 2001.  In 2014, he was a guest professor at Harvard University (USA) and at Wuhan Conservatory (China).

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Jul 13
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Emmanuelle Guigues

Emmanuelle Guigues

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Emmanuelle Guigues

Born in Lyon, Emmanuelle Guigues studies the Viola da Gamba in the Conservatoire of Lyon with Genevieve Bégou, then in the Schola Cantorum of Basel with Jordi Savall and Paolo Pandolfo.  Holder of the Solist Diplôma in 1996, she improves her art two years more with Christophe Coin in the frame of the Professional Third Cyclus of the Conservatoire National supérieur de Musique de Paris.

Emmanuelle Guigues  plays and records with several ensembles notably:  La Simphonie du Marais, Le Concert d’Astrée, Les Paladins, xviii-21, Le Baroque Nomade, Le Parlement de Musique, Ricercar consort, Allegorie…
Since 1996, it is under the enlightened direction of Michaël Radulescu (Wien) that she played the Passions, as well as the musical Offering and the cantatas 106 and 198 of Bach.In 2004, she is invited to join the duet formed by Hugo Reyne and Pierre Hantaï: this collaboration goes on until now.

Of her very first meeting with the viola da gamba and its particular voice, she kept the taste of the sound sculpture: she practises the improvisation – as “another saying” – in duet with the accordionist Olivier Innocenti and in trio with the Syrian singer Noma Omran and the saxophonist Lionel Garcin.

She is also interested in the contemporary repertory for viola da gamba and played with composers such as George Benjamin or Claire Renard.

She cultivates with greediness transversal meetings with theater (Comedie Française, la Fabrique à Théâtre/Jean-Denis Monory), cinema (musical directing of a documentary by Bahman Kiarostami for Arte) or dance (compagnies Ana Yepes, Le Miroir des songes, Fêtes galantes, Les Cavatines).

She teaches the Viola da Gamba at the National School of Music of Villeurbanne and in the Conservatoire of Levallois.

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Jul 13
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Cyril Huvé

Cyril Huvé

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Cyril Huvé

Cyril Huvé is a disciple of Claudio Arrau and was also fortunate enough to be coached by Georges Cziffra. In addition to Huvé’s studies at the Paris Conservatory, he also earned a Bachelor’s degree in philosophy. A fortepiano specialist, he incorporates a deep knowledge of the original context of each work into his performances. Huvé is a pioneer in the rediscovery of nineteenth century keyboards and their expressive possibilities; he sees these instruments as a means to affirm the values of the Romantic tradition of piano performance that his mentors passed on to him.

For many years, Cyril Huvé taught at the Paris Conservatory as an assistant to the great French pedagogue Gérard Frémy. Huvé has been featured in numerous festivals and as a soloist with orchestras such as the Staatskapelle Dresden and The Orchestra of the Age of Enlightenment with Roger Norrington. He has developed, while he was studying at the Paris Conservatory, a serie on performance practice for Radio-France from their archival recordings (les Vieilles Cires). He is the artistic director of the Académie de Musique de La Chaise-Dieu, which offers courses on performance practice. Among his recordings, he was a pioneer with the Chopin’s Ballads and Scherzi on historical fortepianos for EMI, recorded Liszt’s complete Songs with five singers, among which Ernst Haefliger, Brahms and Ligeti Horn Trios, quintets with the Hausmusik group, leaded by Monica Huggett, and plays chamber music with such partners as Les Folies Françoises’s leader, Patrick Cohen-Akénine, and the solo violin of the Minnesota Orchestra, Jorja Fleezanis, with whom he has recorded the ten Beethoven sonatas for fortepiano and violin (Cyprès).

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Jul 13
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Capture d’écran 2016-04-21 à 22.16.08

Cindy Castillo & Aurélie Franck

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Capture d’écran 2016-04-21 à 22.16.08

Cindy Castillo

High-spirited and inspiring, Cindy Castillo has been raising her visibility on the international scene of young organists through her concerts on four continents. She conceives her programs along original thematic lines and transports her audience into another world due to the passionate commitment of her interpretations. Beyond her “classical” concerts, both as a soloist and as part of chamber music, Cindy Castillo equally explores possible dialogues at the cutting edge between the organ and other artistic languages, prominently among them dance, video and electronic music. After graduating from the conservatories of Brussels, Namur, Strasbourg and Paris, she became a laureate of foundations such as Rotary, Vocatio, Wernaers and de Lacour, as well as being invited as artist in residence at Sapporo Concert Hall in 2008-2009. In addition to her activities as a performer, Cindy Castillo is also a producer and host at Musiq3, the Francophone classical radio station in Belgium.

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Aurélie Franck

Aurélie Franck graduated from the Royal Conservatory of Brussels (singing), from the INSAS (theater staging) and received many prizes (Viñas, Rheinsberg Festival, Yamaha, Belgian Foundation ‘Vocatio’). She performed as a soloist at prestigious venues such as the Palais des Beaux Arts (Bozar) in Brussels, Royal Opera of Versailles, Opéra-Comique & Auditorium du Louvre in Paris & festivals like the Festival de Wallonie, Chamonix, Les Musicales de Normandie, Innsbrucker Festwochen der Alten Musik… As a contemporary musician, she had among others the opportunity to create the Passio secundum Lucam of Claude Ledoux in the Cathedral of Brussels & the mezzo soprano part in the opera Paulus by Thomas Jennefelt (co-production with the Deutsches Theater of Berlin) She was the solo mezzo soprano in Kopernikus (Claude Vivier) in a co-production between De Nederlandse Opera, Enoa & Vocaallab and sang together with the Asko/Schoenberg Ensemble in Het Concertgebouw Amsterdam.

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Jul 13
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Fisbach Panzl

Carl-Emmanuel Fisbach & David Christopher Panzl

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Fisbach Panzl

Born to a bicultural French-South American artistic family, Carl-Emmanuel Fisbach has consistently sought to explore and expand the saxophone’s repertoire. Above and beyond the more traditional works he performs as a soloist (Auvergne Orchestra, Ekaterinburg Philharmonic) and within the Denisov and Azar Duos, he collaborates regularly with composers and ensembles (Ensemble intercontemporain, Red Note Ensemble), and is a member of the “Futurs composés” network dedicated to new music. He integrates transcriptions into his repertoire, including tango. This open and eclectic approach has led to invitations to perform in international festivals (Flâneries Musicales de Reims, Festival Archipel Geneva, Shanghai Oriental Arts Center, and Suntory Hall Tokyo). His recordings feature Hispanic repertoire (Duo Azar, PAI Records, 2011) and new works for saxophone and cello (Denisov Duo, Meyer Foundation, 2014). Carl-Emmanuel Fisbach teaches at the Conservatoire of Calaisis, is a guest Professor at the Conservatoire of Lima, and has given master-classes throughout Europe, South America and Asia. A graduate of the Paris Conservatoire, he is a prize-winner in several national and international competitions.

The Austrian multi-percussionist David Christopher Panzl began his training at the age of four. He performed his first solo recital at the age of 13 together with the Philharmonic Orchestra Bad Reichenhall. During his school-days he visited New York several times in order to study Jazz. Thereafter Panzl moved to Vienna to complete his studies as a concert percussionist at the Conservatory of Vienna Private University under Professor Anton Mittermayr, where he received his Master of Arts with top honours in 2013. Lastly he studied Marimba in Tokyo at the Toho Gakuen School of Music under Keiko Abe. He is currently a teaching assistant at the University for Music and Performing Arts Vienna and leads masterclasses worlwide. He is also jury member at several international competitions. As a soloist David Christopher Panzl has performed at Suntory Hall Tokyo, the Seoul Art Center, the Vienna Konzerthaus and at the opening festivities of the Salzburg Festival. He has collaborated with exceptional artists such as Keiko Abe, Nebojsa Zivkovic, Jeff Queen and orchestras such as Sarajevo Philharmonic, Bad Reichenhall Philharmonic, German Chamber-Orchestra Berlin.

website Carl-Emmanuel Fisbach

website David Christopher Panzl

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