CAL PERFORMANCES PRESENTS
Sunday, November 7, 2010, 3pm Hertz Hall Ensemble Zellig Anne-Cécile Cuniot flutes Etienne Lamaison clarinets Silvia Lenzi cello Jonas Vitaud piano
PROGRAM
Philippe Hersant (b. 1948) Five Miniatures (1995) for alto flute
Don Freund (b. 1947) Crunch Time (2010) for bass clarinet, cello and piano West Coast Premiere
Philippe Leroux (b. 1959) PPP (1993) for flute and piano
Gerald Shapiro (b. 1942) Change and End (2010) for clarinet and cello West Coast Premiere
Philippe Hersant Six Bagatelles (2007, 2010) new transcription for clarinet, cello and piano West Coast Premiere
Edmund Campion (b. 1957) Auditory Fiction (2010) for flute, clarinet, piano, cello and computer West Coast Premiere Commissioned by Mécénat Musical Société Générale.
This performance and premieres are funded, in part, by the French-American Fund for Contemporary Music, a program of FACE with major support from the Cultural Services of the French Embassy, SACEM, CulturesFrance, the Florence Gould Foundation, ADAMI, FCM, Mécénat Musical Sociéte Générale and Spédidam.
This performance is also made possible, in part, by the Cultural Services of the French Consulate San Francisco.
Cal Performances’ 2010–2011 season is sponsored by Wells Fargo.
CAL PERFORMANCES 11 PROGRAM NOTES PROGRAM NOTES
Philippe Hersant (b. 1948) Philippe Leroux (b. 1959) reminded me of the endings of some of Bach’s Philippe Hersant Five Miniatures (1995), for alto flute PPP (1993), for flute and piano fugue preludes. It’s an interesting structural trick, Six Bagatelles (2007) introducing new material right before the end. New transcription for clarinet, cello and In recent years, I have been particularly attracted Percussive, propulsive, playful—any number of Usually that’s the place where you want to be piano (2010) to the short form, the aphorism (eleven caprices “P’s” come to mind when hearing Leroux’s PPP most reassuring, so the most repetitive. I decided for two violins, eight duets for alto and bassoon, for flute and piano. In this particular pairing of to do a set of movements exploring that and, ten- The Six Bagatelles for viola (or cello), clarinet etc.). The Five Miniatures for alto flute are part of instruments, there is nothing resembling a con- tatively, gave the piece its title. At the same time, and piano are a cycle of short pieces, rather like this series of works. I have used a number of play- ventional duet or even an improvisatory dialogue. I wanted to make one single sound out of the two Ephémères, the 24 pieces for piano written by ing techniques unique to the flute (multiphonics, Like two pistons (or often three: flute, right hand, instruments—to fuse them together as though Philippe Hersant in 2003. This kind of cycle is harmonics, breathing sounds, etc.). left hand), they pound delicately, and so perva- there were only one instrument and one player. quite a frequent aspect of his work, for example The first piece is a homage to Edgard sively that when the flute breaks into its sole rec- I began the second movement, a canon except the Onze Caprices for two violins (written in 1994 Varèse; the first measures evoke the beginning ognizably melodic statement, the effect is simply for its “change and end,” with that idea in mind and later arranged for two cellos in 2003), the of Amériques. The second is a short scherzo. astonishing. Surrounding this singular moment, as well. Huit Duos for viola and bassoon, the Poèmes chi- Harmonic sounds and staccatos alternate in phrases expand and contract in a manner wholly Then my dear 93-year-old mom started her fi- nois for choir and piano (2003). If musical min- the third piece, which takes its inspiration from plastic, growing and shrinking before our ears. A nal decline. Suddenly the idea of change and end iatures appear to be freed from need to conform Burundi music. The fourth, which has a rather similar emphasis on gradual or progressive change became a personal, and very compelling, meta- to the kind of discipline required in more longer Japanese atmosphere, evolves in a climate of in- infects both timbre and pitch as the flute moves phor. I wrote the rest of the piece during the next works, there is in this case a tenuous thread hold- stability, with quarter tones, glissando effects and smoothly from breathy sounds to clear ones or two months, while my mother was dying, and ing together the set of pieces. Rather like the short multiphonics. The fifth is played in one move- slides from one note to a neighboring note. just after her death. She was always on my mind, story, and with only a handful of notes, a succes- ment with no silence, using the technique of cir- Composer Julien Copeaux considers the three thoughts of her inextricably mixed with the mu- sion of varied musical microcosms is assembled to cular breathing and with a great deal of breathing “P’s” of Leroux’s title to represent three paradox- sical ideas of my piece. The ensuing movements form a coherent form of musical expression. The sounds: the piece is vaguely inspired by a Berber es: a strange stasis that is revealed only through tended to be more serious, of course, although composer therefore seems freer, but his freedom improvisation. transformation; a taming of potentially disrup- the next-to-last is as frankly joyous as anything requires a high degree of attention on the part of These Five Miniatures were written at the re- tive elements by reiterating them rather than I’ve ever written. The idea of using cannons, of- both composers and their performers. quest of Jean-Luc Menet, and they are dedicated dismantling them; and finally an understanding ten associated with memorials, became ever more The first Bagatelle consists of two sections. to him. that repetition that holds even greater power over important to the set, playing a part in both the Against a backdrop of solemn discords from the Philippe Hersant the listener after it has ceased than while it is on- fourth and the last movements as well as the sec- piano, each of these parts gives rises to a playful going. Leroux’s iterative processes are too varied ond. The idea of making a single sound out of the contrapuntal game, with the piano eventually re- to be hypnotic. Instead, a precisely coordinated, two disparate instruments also took on an added luctantly agreeing to join in before finally retreat- Don Freund (b. 1947) ever-changing flux—between the rapid shim- resonance for me, and played a formative role in ing into silence. The second Bagatelle combines Crunch Time (2010), for bass clarinet, cello mer of trills or tremolo and the carefully mea- shaping the rest of the inner movements. As the this contrapuntal game with contrasts between and piano sured rhythmic divisions that make up most of piece took shape, the “change” of Change and the different instrumental registers. The piano the score—invites active, not passive hearing. As End got spread out more inside some of the move- provides a background of rapid arabesque-like My introduction to the playing of Ensemble Copeaux puts it, “violence [is] substantiated by ments, and dropped entirely from the fourth. figuration in the bass “with plenty of pedal” over Zellig has been through their CDs. They are the captivating force of fascination.” The last movement is one continuous process of which emerges a restful contrapuntal pattern of brilliant, of course, but what impressed me the Beth E. Levy change, from strict adherence to 16th-century melodic lines played by the clarinet and cello. most was their captivating exuberance in playing © San Francisco Contemporary Music Players contrapuntal rules, to freely composed music in Here, too, melodic intention is short-lived. The rough, primal music unapologetically. So in writ- my own voice. The first four notes of its theme, third Bagatelle introduces a melody in popular ing Crunch Time for them, I took advantage of B–E–A–G, are taken from my mother’s name. style, a kind of lively children’s rhyming song the opportunity to write something determinedly Gerald Shapiro (b. 1942) Change and End is lovingly dedicat- played by the clarinet against a background of ugly, joyfully violent, defiant, even brutal. The Change and End (2010), for clarinet and cello ed to the memory of my mother, Beatrice chromatic ostinati provided by the cello and piece begins with raw intensity, fortississimo crude Gunner Shapiro. piano. Perhaps it is the fourth Bagatelle which dissonances pounding against one another. This My commission requested a piece for clarinet Gerald Shapiro best conveys a sense of mystery and poetic di- leads to a faster section, rugged riffs rocking with and cello, nothing else specified. I decided on mension. Because of its concision, the inventive hard-hitting syncopations. And finally a tune, several short movements and began the first. As melodic writing for the cello and clarinet which but not a pretty one—this is marked “insolent, you will hear, it has one of those sensa misura pas- react “at the slightest provocation” to quote punk” and refuses to go anywhere or go away. sages at the end, a little cadenza-like flourish only André Boucourechliev, and the resonance of the Don Freund tangentially related to what came before, which piano which uses the treble register to echo the
12 CAL PERFORMANCES CAL PERFORMANCES 13 PROGRAM NOTES ABOUT THE ARTISTS other instruments, this Bagatelle “harks back to shaping musical time. Hitchcock movies and COMPOSERS and a commission from Radio France for a large original innocence” in order to create “thoughts the music of Bernard Hermann come to mind. ensemble piece premiered by Ensemble Zellig in beyond words.” Hermann’s music provides the clock(s), the car- Edmund J. Campion, born 2009 at the Festival Présences. However, this “realm of dreams” soon gives rier through which the action is unfolded, aug- in Dallas, Texas in 1957, re- birth to a generous texture in the fifth Bagatelle menting and making reference to the technology ceived his doctoral degree in Don Freund was born in with its rapid rhythms, its locomotive-like clatter- of cinema. In Auditory Fiction, the musicians play composition at Columbia Pittsburgh in 1947. He stud- ing and dissonant harmony. their parts by following in-ear click-tracks which University and attended the ied at Duquesne University Against this background, the sarcastic melo- coordinate four independent, flexible, shifting Paris Conservatoire, where he (B.M. 1969) and earned dy of the clarinet appears in diabolic guise: both sequences of time. Each instrument in Auditory worked with Gérard Grisey. graduate degrees at the repetitive and minimalist, it neither develops nor Fiction can act independently in time or join to- In 1993, he created the work Eastman School of Music concludes, but rapidly leads to an empty void. In gether with the quartet in perfect sync. The image Kathleen Karn Losing Touch (Billaudot (M.M. 1970, D.M.A. 1972). opposition to the violence of this piece, the sixth of birds flocking comes to mind. Closely layer- Editions, Paris) at IRCAM. His composition teachers
Bagatelle concludes the cycle with gently flowing ing temporal events can trick the auditory system He was then commissioned by IRCAM to Tyagan Miller were Joseph Willcox Jenkins, harmonic sweetness. The ceaseless harmonic al- and cause things to be heard that are not actually produce a large work for interactive electronics Darius Milhaud, Charles Jones, Wayne Barlow, ternation in the piano accompaniment moves in- present. Decades ago, the composer Steve Reich (Natural Selection) (ICMC 2002). Other projects Warren Benson and Samuel Adler. From 1972 to exorably forward with pendulum-like regularity. pioneered the technique of phase shifting in live include a Radio France commission l’Autre, the 1992, he was chairman of the Composition A slow perpetuum mobile puts paid to all notion performance, but it is only with the new technol- full-scale ballet Playback (commissioned by Department at Memphis State University. As of temporal perception, while the cello and the ogy that full compositional control of smoothly IRCAM and the S o c i t é t é d e s A u t e u r s e t C o m p o s i t e u r s founder and coordinator of Memphis State clarinet hover above like bees in search of honey varying tempos has become possible. This new Dramatiques) and ME, for baritone and live elec- University’s Annual New Music Festival, he pro- until their very last breath. technique presents a major challenge for both tronics, commissioned by the Manca Festival grammed close to 1,000 new American works. Jean-Marc Bardot the composer and the performers—the problem in association with CIRM (Centre National de He has been conductor or pianist in the perfor- of navigating a musical space that is always in Création Musicale). A full-length interview with mance of some 200 new pieces, usually in col- temporal flux. The tempo-editing tools were de- Dr. Campion may be found in Volume 28 of the laboration with the composer. Edmund Campion (b. 1957) veloped at the Center for New Music and Audio Computer Music Journal (2004). Dr. Freund has received two grants from Auditory Fiction (2010), for flute, clarinet, Technologies first by Matthew Wright and cur- Dr. Campion is currently Professor of Music the National Endowment for the Arts (Cello piano and cello rently by John MacCallum. Jeff Lubow and David at UC Berkeley, where he also serves as Co- Concerto; Passion with Tropes) and grants from Coll also assisted in the production. The piece Director of CNMAT (the Center for New Music Jacobs School of Music to compose the ballet Auditory Fiction, written for the Zellig Ensemble, was commissioned by Mécénat Musical Société and Audio Technologies). Madame Bovary and Earthdance Concerto. He is cinema for the ears. The piece is an imaginary Générale and written for Ensemble Zellig. Prizes and honors Dr. Campion has received has been commissioned by the Tennessee Arts narrative that involves the use of a new tool for Edmund Campion include the Rome Prize, the Nadia Boulanger Commission with Opera Memphis (The Bishop’s Award, the Paul Fromm Award at Tanglewood, a Ghost), Tennessee Music Teachers Association Charles Ives Award of the American Academy of (Pastoral Symphony), the Memphis City Schools Arts and Letters, and a Fulbright scholarship for (Vista for Three String Orchestras), the Memphis study in France. Recent projects include a Fromm in May International Festival (Springsongs), Foundation commission for Outside Music, the Verdehr Trio (Triomusic), the Tennessee written for the San Francisco Contemporary Department of Education (Jug Blues & Fat Pickin’ Music Players, and a French Ministry of for the Governor’s School Wind Ensemble), Culture Commande d’etat for Ondoyants et the Pittsburgh New Music Ensemble (Hard Divers (Billaudot Editions, Paris), written for Cells), the Jubal Trio (Backyard Songs), Memphis Les Percussions de Strasbourg. Ondoyants et Ballet (Alice in Wonderland), the International Divers was premiered on WDR German Radio Viola Congress (Fanfare for Violas), the Pastiche in the fall 2005. Practice, commissioned by the Ensemble (Rough and Tumble), Florida State American Composers Orchestra, was premiered University and Indiana University (Beyond the in Carnegie’s Zankel Hall in March 2006. Brass Gates), the Rodrigo Riera International Recent commissions include a new work Guitar Festival (One Singer, Two Voices), Baldwin- with dance in collaboration with the Drumming Wallace Conservatory (Primavera Doubles), Ensemble of Portugal, a new work for the violin Voces Novae (Childhood Awakening), Robert and piano duo of David Abel and Julie Stienberg, and Sara LeBien (Quilt Horizon), Germantown
14 CAL PERFORMANCES CAL PERFORMANCES 15 ABOUT THE ARTISTS ABOUT THE ARTISTS
Symphony (Preludes for Orchestra), Whatcom & Fat Pickin’ (Cincinnati CCM Wind Ensemble Born in 1959 in Boulogne sur Gerald M. Shapiro was Symphony (Word on the Street), Ensemble on Klavier), Pentecost and Hard Cells (Indiana Seine, France, Philippe born in Philadelphia in 1942 Zellig (Crunch Time), and the Indiana Music New Music Ensemble), Radical Light (Bowling Leroux graduated from the and attended public schools Teachers Association (Autumnsongs). His Green Philharmonia on Albany), Rough and Paris Conservatoire Supérieur, there. He received the prizes include the Washington International Tumble (Pastiche Ensemble on ACF-Innova) and where he studied with Iva Bachelor of Music degree String Quartet Composition Competition, the Backyard Songs (Jubal Trio on CRI). Dr. Freund’s Malec, Claude Ballif, Pierre with distinction from the
International Society for Contemporary Music/ piano recital repertoire has extended back from Schaeffer and Guy Reibel. He Julie Strandberg Eastman School of Music in
League of Composers International Piano Music new music to several complete performances of Androff Danielle has also studied with Olivier 1964 and continued with graduate work at Mills Competition, the AGO/ECS Publishing Award Bach’s Well-Tempered Clavier Book I and his Messiaen, Franco Donatoni, Betsy Jolas, Jean- College (M.A. 1967), UC Davis and the Paris in Choral Composition (God’s Grandeur), the own pianistic realizations of Machaut. He has Claude Eloy and Iannis Xenakis. Composer-in- Conservatory, studying under a Fulbright grant. Rodrigo Riera International Competition for performed his Earthdance Concerto with wind residence at the Villa Medicis (1993–1995), His principal teachers during this period were Guitar Composition (Stirrings), the Hanson ensembles at Florida State, West Virginia and Mr. Leroux has written some 40 pieces which en- Darius Milhaud, Morton Subotnick, Karlheinz Prize, the McCurdy Award, the Aspen Prize, 25 Bowling Green State universities. compass several genres: symphonic, electro- Stockhausen and Nadia Boulanger. In 1967, he ASCAP Awards, and a Macgeorge Fellowship acoustic, electronic and chamber music. accepted a position at Brown University, where he from the University of Melbourne in Australia. Born in 1948 in Rome, Mr. Leroux is a regular guest at various festivals currently serves as Professor of Music. In 2005, Dr. Freund was awarded a Guggenheim Philippe Hersant studied in France and abroad, including Donaueschingen, Mr. Shaprio has composed more than 60 Fellowship for Romeo and Juliet: A Shakespearian music at the Paris Présences (Radio France), Bath, Agora, Roma- works in all genres. He is a recipient of numerous Music-Drama, which was given its premiere by Conservatory, notably in Europa, Nuove Synchronie (Milan), Musica, prizes and commissions, and his music is regularly the Bloomington Playwrights Project in 2008. the composition class of Stockholm ISCM, Barcelona, Musiques en performed around the world. His principal works Recent performances of Dr. Freund’s mu- André Jolivet, before resid- Scènes (Lyon), Manca, Bergen, Tempo (Berkeley) for orchestra include Mount Hope in Autumn and sic include Primavera Doubles and Sunscapes by ing at the Casa Velasquez and with the BBC Symphony. He has been com- From the Log of the Alice for the Rhode Island the Brevard Festival Orchestra, Radical Light from 1970 to 1972 and at missioned by such institutions as the French Philharmonic; In Times Shadow for the Toledo by the Kansas City Symphony, Sinfonietta by A. Yanez the Villa Medici from 1978 Ministry of Culture, the symphonic orchestra of Symphony; (r)EVOLV(e) for the Brown University the IU Concert Orchestra and the Interlochen to 1980. Since 1973, he has been a producer for Radio France, Südwestfunk Baden-Baden, INA- Orchestra; Toccata for flute, harp, piano and World Youth Symphony Orchestra, End of radio broadcasts with France Musique. GRM, Les Percussions de Strasbourg, Ensemble strings, for the Icelandic Philharmonic; and two Summer (orchestral winds) at the Aspen Music With a varied catalogue of around 80 pieces Intercontemporain, IRCAM, Ensemble Icare, pieces for string orchestra, both written for the Festival, Departing Flights (piano trio) pre- (not counting his scores for the cinema and the Festival Musica and BIT 20. Baltic Philharmonic Chamber Orchestra: The miered by Composers, Inc. in San Francisco, theater), Mr. Hersant has achieved broad recog- In 1994, Mr. Leroux was awarded the Hervé Vinland Sagas for narrator and string orchestra, Hard Cells for 14 instruments by the Cleveland nition on the contemporary music scene. He has Dugardin Prize. In 1996, his piece (d’)Aller was and Intrigue for violin solo and string orchestra. Chamber Symphony and the Pittsburgh New received commissions from such institutions as nominated as “best contemporary composition of Mr. Shapiro’s chamber music includes two Music Ensemble, Feux d’artifice-Tombeau (solo the French Ministry of Culture, Radio France the year.” In 2003, he received the SACEM Award. piano trios, two string quartets, Dance Suite piano) and Departing Flights at Merkin Hall (Le Château des Carpathes, in 1991, Trio, Violin Continuo(ns) was the subject of a study published No. 3 for piano, violin and clarinet, Mouvements (ISCM/League series), Soft Cells (15 instru- Concerto; not forgetting that he was the featured by Harmattan. Perpetuelles for percussion quartet, and a quin- ments) and Quilt Horizon by new music ensem- guest of the Festival Présences in 2004), Paris He has written numerous articles on con- tet for clarinet, piano and strings. Music for bles at Indiana University and the University of Opera (the ballet Wuthering Heights, in 2002), temporary music, given lectures and taught saxophones is well represented in Mr. Shapiro’s Southern California, Life of the Party (Concerto Leipzig Opera (the opera Le Moine noir, in 2006), composition courses at Bergen Grieg Academy, catalogue, including two saxophone quartets, a for Bassoon and 16 friends) at the Melbourne the Orchestre National de Lyon (Streams, in Columbia University in New York, UC Berkeley, trio for saxophones and piano, Four Fugues for International Double Reed Conference, and Sky 2000) and the Orchestre National de Montpellier Fondation Royaumont, IRCAM, the American Three Saxophones and Breath Etude for saxophone Scrapings (alto saxophone and piano) in Prague (Concerto for cello n°2, in 1997). In addition, the Conservatoire in Fontainebleau, and the solo. Piano music includes a set of twelve fugues and Montreal. The Indiana University Ballet musical world has awarded him many distinc- Paris and Lyon conservatories, among others. entitled Fugue Radio: All Fugues All the Time, a Theatre premiered his ballets Madame Bovary, tions: Grand Prix Musical de la Ville de Paris Mr. Leroux teaches electronic music composition Sonatina and many shorter pieces. Vocal music Skin Rituals and Earthdance Concerto. Recent (1990), Composers’ Prize from the SACEM at IRCAM. includes Phoenix and Prayer for the Great Family CD releases include Madame Bovary Ballet (1991), Grand Prix SACEM for symphonic music for vocal quartet and live electronics, a song cycle Suite, Soft Cells, Viola Concerto, Dissolving Music (1998), Grand Prix of the Del Duca Foundation for soprano and piano, Love Songs in Age, and (Indiana University Orchestra and New Music (2001) and two Victoire de la Musique awards Four Love Songs, a choral setting of poetry from Ensemble, IUSOM-10 distributed by Albany), (2005, 2010). Additional information may be the Song of Songs. Triomusic (Verdehr Trio on Crystal), Jug Blues found at www.philippehersant.com.
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Performances of these and other works by Atsuhiko Gondaï and Akiko Murakami (Japan). Normandie, Présences (Radio France), de La She regularly appears as cello and viola da gam- Mr. Shapiro have taken place on programs in The ensemble regularly appears in France’s ma- Meije and Pablo Casals (Prades) festivals. ba soloist with the National Orchestra of Ile-de- the Ravinia Festival in Chicago, the New York jor festivals and venues, including Radio-France, France, the ensemble 2E2M, the Modern Music Summer Festival at Lincoln Center, the Grand Auditorium du Louvre, GMEM in Marseille Etienne Lamaison (clarinet) Ensemble of Moscow, the Tomsk Philharmonic Teton Festival in Wyoming, the Montanea and Les 38eme Rugissants in Grenoble, and has graduated at the National and in such ensembles as the Nuovo Quartetto Festival in Switzerland, the Blue Lagoon toured to Portugal, Spain, Mexico, Ecuador, Conservatory in Lyon, where Artis, Camerata Mozart, Orchestra of the Festival in Iceland, the Zenith Festival in The Colombia and the United States. he was the student of Jacques Italian RAI, Bologna Opera Orchestra and the Hague, Saxophones en Fête in Paris, the World Starting in 2009, after a long-term partnership Di Donato, and obtained a Toscanini Orchestra of Parma. As a result of an Saxophone Congress in Zagreb and the De Stem with composer Thierry Pécou, Ensemble Zellig diploma in bass clarinet at the ongoing exploration of the potential of the viola Festival in Amsterdam. Other performances began an ambitious program of commissions Paris Conservatory. He com- da gamba for contemporary music programs, she have taken place at Brown, Wesleyan and Rice and residencies for composers. In 2010, they pleted his education during a has developed an innovative and deeply personal universities, the Eastman School of Music, the premiere works by Edmund Campion, Donald Christophe Alary residency at the Banff Centre musical technique. University of Michigan, UC Berkeley and the Freund, Gerald Shapiro and Philippe Hersant. for the Arts in 1991–1992, and received the Monday Evening Concerts at the Los Angeles In 2011, Oscar Strasnoy will join the ensemble Romney Memorial Prize at the Tunbridge Jonas Vitaud (piano) started County Museum. Mr. Shapiro’s music is pub- as Composer in Residence. In 2012, commissions (England) International Competition. playing piano at age six and lished by Editions Billaudot and is available on will include a new work for ensemble and music Subsequent to his ten-year career as solo clari- won his first Radio France the Naxos and Neuma record labels. students by Frédéric Pattar, and a composition for net of the Lisbon Orquestra Metropolitana, he Prize of Honor at age twelve, ensemble and speaker by Jacques Rebotier. has increasingly concentrated on improvisation performing with the orches- This concert marks Zellig’s West Coast debut. (contemporary, jazz and world music), composi- tra of the French Garde PERFORMERS tion, theatrical shows, and on performances with Républicaine. He went on to Ensemble Zellig is a registered French charity and is visual artists in addition to his activities with win a series of First Prizes at Since its inception in 1999, Ensemble Zellig has thankful for its core funding from the City of Paris, Radio France, the National Orchestra of Ile-de- the Paris Conservatory and focused on innovation and experimentation. Like the Ile-de-France DRAC, the Val de Marne General France, Orquestra Metropolitana de Lisboa, en- enrolled in higher studies at the Alfred Reinhold Woody Allen’s film chameleon Zelig, the flexibly Council, Spédidam and SACEM. semble 2E2M and others. Foundation in Leipzig, Germany. sized ensemble is fully at ease traveling through He regularly appears with chamber music en- Mr. Vitaud has won prizes in international time and musical styles. Anne-Cécile Cuniot (flute) sembles, above all Zellig, with whom he has been competitions in both solo and chamber music, Founded by performers Silvia Lenzi and received her training at the touring to Brazil, Colombia, Ecuador, Czech such as the Beethoven Piano Competition in Etienne Lamaison and composers Thierry Pécou National Regional Conserv- Republic, Japan, Thailand and South Korea. Vienna in 2001 (solo) and the ARD competi- and Gualtiero Dazzi, Ensemble Zellig brings to- atory of Reims and the Paris He currently serves as professor at the Academia tion in Munich (chamber music). He has given gether well-known soloists and enthusiastic cham- Conservatory, where she was Nacional Superior de Orquestra in Lisbon and concerts at the main French festivals, includ- ber musicians with a taste for musical experimen- enrolled in the advanced cycle Universidade de Évora (Portugal). Mr. Lamaison ing Flâneries de Reims, Radio France, Roque tation and boundary-crossing performances. in the classes of soloists is consistently involved in child and adult educa- d’Anthéron and Opera Bastille. He has appeared Diverse artistic encounters with guest per- Christian Ivaldi and Michel tion projects (e.g., for the Calouste Gulbenkian in prestigious halls in Germany, England, Spain, formers cross-fertilize Zellig’s programs, pri- Moraguès. She performs a Foundation), and he has given master classes Russia, Italy, Poland, China and Japan, with such marily with the stage director Ivan Morane, but Christophe Alary large and diverse repertoire as throughout Portugal, Spain, France and Brazil. partners as Aldo Ciccolini, Augustin Dumay, also with pianists Alexandre Tharaud and David flute soloist of both Ensemble Zellig and the Philippe Cassard, Brigitte Engerer, Alexandre Greilsammer, oboist François Leleux, choreogra- chamber orchestra Pelléas, and as piccolo and Silvia Lenzi (cello, viola da Tharaud, and the Debussy and Ebène string quar- pher Karine Saporta, poet Paul de Brancion and flute soloist of Orchestre Colonne, Ensemble gamba), was born in Ferrara, tets. Deeply involved in contemporary music, visual artist Jean-François Boclé, among others. Calliopée and Musica Nigella. In addition to ap- Italy. Her earliest music stud- Mr. Vitaud has worked with such noted compos- Zellig is devoted to promoting intercultural pearing with such ensembles as TM+, Ensemble ies were crowned by a unani- ers as Henri Dutilleux, György Kurtág, Thierry exchange as well, traveling the world through Intercontemporain, Court-Circuit and Musique mous first prize in cello at the Escaich and Philippe Hersant. He regularly takes the imagination of the many composers on its Oblique and orchestras as the Philharmonique de Frescobaldi Conservatory in part to in radio broadcasts for France Musique programs. The Ensemble has played—and often Radio France, Paris Opera, Orchestra National 1988. She undertook ad- and Radio Classique, and he recently released a premiered—works by Thierry Pécou, Philippe des Pays de la Loire, the orchestras of Picardy, vanced study in training pro- recording of French trios on Oehms Classics.
Leroux and Philippe Hersant (France), Edmund Lower Normandy and Brittany, and the Lorraine Christophe Alary grams and residencies at the Mr. Vitaud is sponsored by the Natexis Banques Campion, Don Freund and Gerald Shapiro Philharmonic, Ms. Cuniot gives chamber music Romani Foundation in Brescia, the Salzburg Populaire Foundation. (United States), José Manuel Lopez (Spain), Robert and solo recitals throughout France and abroad, Mozarteum, the Banff Centre for the Arts and in Rosen (Canada), Gabriela Ortiz (Mexico), and including at the Ultima (Oslo), Automne en Moscow with Natalia Shakovskaya.
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