Here is an example of the implication of a composer in residence to walk away from the obvious…
Opera Company of Philadelphia Composer in Residence Lembit Beecher arranged the famous Papageno-Papagena duet from The Magic Flute for piccolo and found percussion.
For more details, double-click on the video.
Le compositeur en résidence Lembit Beecher apporte une touche créatrice en dehors des sentiers battus!
Il a fait l’arrangement d’un extrait du fameux duo Papageno-Papagena tiré de La flûte magique de Mozart pour voix et objets IKEA!!
Double-cliquer sur le vidéo pour plus de détails.
Je suis revenu du congrès de la Fédération des festivals Eurochestries avec une vision beaucoup plus concrète de l’intérêt et de l’impact de ce regroupement de festivals d’orchestres de jeunes. Tenu du 19 au 22 janvier à Paris, le congrès a accueilli des représentants de nombreux pays : Autriche, Brésil, Canada, Espagne, Finlande, France, Grande-Bretagne, Irlande, Pologne et la Russie.
Je vous invite à visionner l’entrevue vidéo que j’ai réalisée avec Claude Révolte, président de la Fédération des festivals Eurochestries, qui en résume très bien la mission.
Pour faire une histoire courte, le premier festival Eurochestries est né en 1989 en Charente-Maritime, France afin de promouvoir la pratique orchestrale des jeunes âgés de 15 à 25 ans, à travers l’échange international. Au fil des ans, d’autres festivals ont été mis sur pied et la Fédération des festivals Eurochestries a été créée en 2007 pour coordonner l’ensemble des festivals, qui ont maintenant lieu en Europe et au Québec.
Ce qui me touche particulièrement dans cette organisation, c’est son caractère profondément humain. On y laisse place aux échanges culturels durant la dizaine de jours que dure chaque festival, regroupant des orchestres venus de divers pays. La pratique musicale y prend toute sa valeur à mon sens et elle devient une grande source d’inspiration pour encourager les jeunes à poursuivre dans cette voie.
Photo : Sylvain Marchal, Secrétaire Général de la fédération, Cécilia Weston, chef d’orchestre et Claude Révolte Président et membre fondateur de la fédération.
Antoine de Saint-Exupéry is the theme proposed by Claude Révolte for the commissioned work I have to deliver in the symphonic format next summer at the Festival des Eurochestries in Charente-Maritime in France.
In order to feed my creative thoughts, I would welcome your sentiments about Saint-Exupéry and what he represents for you. This would help me out in sketching my musical ideas.
Beyond Petit Prince and Vol de nuit books that I know well, Saint-Exupéry gives me a feeling of huge solitude similar to the desert he used to fly over with love. Despite everything, you could see his fondness for the humans, his brothers and sisters. He was born right at the begining of the XXth Century and disappeared at the end of the Second World War. His plane has been found at last a few years ago.
As if he could not survive a murderous era from which he escaped thru a poetic yet without being naive neither complacent. He was a fine human soul observer. He knew all its mechanism and subtilities. He is the elder brother I never had.
And for you, what does it represent?
Thank you for sharing your thoughts with me.
P.-S. Interestingly enough, for those curious about intellectual property, here is a particular fact about the copyright extension of Saint-Exupéry :
« Due to Saint-Exupéry’s wartime death, his estate received the civil code designation Mort pour la France (English: Died for France), which was applied by the French Government in 1948. Amongst the law’s provisions is an increase of 30 years in the duration of copyright;[65] thus most of Saint-Exupéry’s creative works will not fall out of copyright status in France for an extra 30 years. »[1]
[1] Schiff, Stacy (2006) [1994]. Saint-Exupéry: A biography (Reprinted ed.). New York: Henry Holt. ISBN 978-0-8050-7913-5.
I have the privilege to compose an orchestral piece for the Festival Eurochestries to be held in the Charente-Maritime in France in august 2012. I will also conduct the work at this festival together with the Quebec City’s festival in august as well. I would like to thank Mr Claude Révolte, president of the Férération des festivals Eurochetries, for his confidence. I have also a special thank for Mr Laurent Breton who made this possible thru his generosity.
From the January 20th to 22dn I will participate to the annual congres of the Fédération des festivals Eurochestries in Paris. It is a first for me. I will meet with contributors from all over Europe and Quebec who are involved with the organization of the seven festivals to be held during summer 2012 (Spain, France, Poland, Quebec, Russia and Slovakia)
The Eurochestries were created in 1989 by Mr. Marcel CORNELOUP to promote orchestral practice of youth aged 15 to 25 years, through international exchange. The Eurochestries doesn’t bring together isolated instrumentalists but formed bands. Each year, young people are separated by languages, but united in the universal language of music. The Festival offers to each guest orchestra the opportunity to get discovered composers of his country and his own repertoire to a wide audience. Numerous concerts held in the department allow these young musicians to showcase their band and their country. On this occasion, they discover the heritage tourism of the host region.