![]() ![]() A new conception of music emerges from the whirling magma. Graciane Finzi’s music recreates Art on a new basis. The piece keeps the listeners in suspense like a sonic, compact monolith made understandable through its orchestration. ![]() Le Dernier Jour de Socrate, premiered at the Opéra Comique (Paris) is the result of her collaboration with writer Jean-Claude Carrière. Premiered in Lille (with the support of the Lille orchestra), the opera will enjoy a new production in 2006, both in Montpellier (Opéra National) and La Rochelle.Įt nous le monde was premiered in Saint-Denis in 2011, on the libretto by Jacques Descorde, with the Radio France Choir and the musicians of the Orchestre National de France under the direction of Mélanie Levy-Thiebaut. #MONKEMEYER SOPRANO PDF FULL#Then there is Là-bas peut-être, which combines dance, song, video, fixed sounds, accordion, African percussions and an instrumental ensemble and has won the full adhesion of its target teen-age public. #MONKEMEYER SOPRANO PDF PROFESSIONAL#The two operas have been performed all over France, involving children’s choirs, professional orchestras and the active participation of hundreds of schoolchildren. Graziane Finzi’s Le Clavier Fantastique and Quand un enfant voyage are a testimony to her pedagogical interest and concern. Expressivo for amplified harpsichord and fixed sounds has been performed all over the world by Elizabeth Chojnacka. Dedicated to José Van Dam, the piece was premiered in Paris (Salle Pleyel) by the dedicatee and Ensemble Orchestral, John Nelson, conductor. La Tombée du Jour set to music a wonderful text by Michel Schneider. Errance dans la Nuit, a tender ballad for cello and orchestra (premiered by Gary Hoffman/Orchestre Philharmonique de Radio France, Pascal Rophé, conductor later in Frankfurt with the Württembergisches Kammerorchester and Ruben Gazarian, conductor, and again with the Orchestre National de Lille, Paul Polivnik, conductor). The piece marked a dramatic change of style, as Graziane Finzi moved toward a more harmonic language, organizing the many layers of sound into giant harmonies and wholly unexpected colours. Concerto pour piano et orchestre (1997), premiered by Jean-Claude Pennetier/Orchestre de Montpellier. They act as a guide to the understanding of her music which is never abstract but rather aims at the immediate expression of life and Man’s innermost feelings.Ī few landmarks: Soleil Vert (1984) for 97 instruments, premiered by Orchestre Philharmonique de Radio-France, later performed at Festival Présences and on tour with Orchestre Français des Jeunes (Jesus Lopez Cobos, cond.). In a modern language which uses extra-tonal harmonic and chromatic progressions, she sets poles of attraction between notes, pitches and sounds. Whether she uses orchestral masses or individual instruments, Graziane Finzi always takes into account the specific character of her chosen compositional elements, combining them in a juxtaposition of groups, each with its own energy, dynamics, colour, biorhythm, thus multiplying what is known in professional jargon as ” real parts ”. Her music has been performed all over the world by leading orchestras and soloists. Graciane Finzi has composed over 100 works. ![]() She currently serves on the Board of Directors of the Association Beaumarchais - SACD. From 2001 to 2003, she was a composer in residence with Lille National Orchestra. ![]() Prior to that, she was a member of the SACEM Symphonic Commission. From 1977 to 2000, she acted as official representative to AFAA (Association Française d’Action Artistique) and vice-president of SIMC (International Society for Contemporary Music) and of Société Nationale. She has been teaching at the Paris CNSM since 1979. From 1975 to 1979, she was music director of the Festival de la Défense. She has been awarded the SACEM Grand Prix de la Promotion Symphonique, the Georges Enesco Prize, the Chartier Prize by the Institut de France, the SACEM Grand Prix and the SACD Prize for her opera Pauvre Assassin, (premiered in Strasbourg, at Opéra du Rhin). Two years later, she integrated Joseph Benvenuti’s piano class but resolutely turned to composition at age 15 and graduated in harmony, counterpoint, fugue and composition. Graciane Finzi was accepted at the Paris Conservatoire National Supérieur at age 10. ![]()
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