COMPOSITEURS et INTERPRÈTES

David Adamcyk
Simon Aldrich
Georges Aperghis
Mark Applebaum
Mira Benjamin
Denys Bouliane
Jean-Pascal Beintus
Luciano Berio
Parker Bert
Julien Bilodeau
Taylor Brook
Catharin Carew
Alain Cazes
Ewald Cheung
Chloé Dominguez
Eric Derr
Simon Docking
Ben Duinker
Aidan Ferguson
Sean Ferguson
Michael Gandolfi
Estelí Gomez
Vinko Globokar
Al Halavrezos
Georg Friedrich Händel
Patrick Hansen
Chris Paul Harman
Alexis Hauser
Eitetsu Hayashi
Greg Ho
Aiyun Huang
Ermonela Jaho
Laura Kachurek
Mauricio Kagel
Christian Kesten
Julieanne Klein
Carissa Klopoushak
Hank Knox
Agnieszka Kus
Sara Laimon
Jimmie Leblanc
Suzie Leblanc
Annie Lemay
Philippe Leroux
Stéphane Lévesque
Franz Liszt
Alain Louafi
Fabrice Marandola
Claire Marchand
Isao Matsushita
Mikah Meyer
Donatienne Michel-Dansac
Jana Miller
Kent Nagano
Nicolò Paganini
Liliana Piazza
Giacomo Puccini
Richard Raymond
Cairan Ryan
Ingrid Schmithüsen
Dieter Schnebel
Arnold Schöenberg
Franz Schubert
Marlon Schumacher
Joseph Schwantner
Nola Shantz
Ana Sokolovic
Adam Spencer
Karlheinz Stockhausen
Anthony Tan
Aria Umezawa
Lorraine Vaillancourt
Rebecca Woodmass
Jonathan Woody

Georges Aperghis

Georges Aperghis Né d’un père sculpteur et d’une mère peintre, Georges Aperghis hésite longtemps entre l’expression plastique et la composition. Essentiellement autodidacte, il découvre la musique grâce à la radio et aux cours de piano que lui donne une amie de la famille.

En 1976, Georges Aperghis crée l'Atelier Théâtre et Musique, Atem, siégeant à Bagnolet puis au théâtre des Amandiers de Nanterre (de 1992 à 1997), consacré au théâtre musical. Il renouvelle son travail de compositeur, qui, selon sa devise, doit « faire musique de tout », en même temps qu’il invente de nouvelles formes de travail où se rencontrent musiciens, chanteurs aussi bien que comédiens et artistes plastiques. Ses pièces intègrent les éléments vocaux, instrumentaux, gestuels, narratifs et scéniques dans un cadre expressif unique. Les Récitations (1978), pour soprano solo, explorent tous les affects, toutes les expressions humaines. L’élaboration musicale et l’émergence d’un langage signifiant saisi en son état naissant, progressent de pair, par la répétition de bribes textuelles et de cellules sonores, arrangées comme des jeux de construction se jouant de l’attente et du sens. Un grand nombre d’œuvres de théâtre musical jalonnent ce parcours, parmi lesquelles l'opéra Je vous dis que je suis mort (1978), le Sextuor L'Origine des espèces (1992), ou Machinations (2000).

C'est à l'opéra qu'il réalise la synthèse de ses travaux expérimentaux : ici le texte est l'élément fédérateur et déterminant, la voix, le principal vecteur de l'expression. Il a composé huit œuvres lyriques, dont Avis de Tempête (2004), créé à l'opéra de Lille, qui reçut le Grand Prix de la critique en 2005.

Il compose également de nombreuses pièces pour instruments seuls, des œuvres de musique de chambre, vocales et pour orchestre. Sa musique instrumentale même comporte des éléments théâtraux ou verbaux, comme le suggère le titre des pièces Quatre Récitations pour violoncelle (1980).

Plus d’une centaine de pièces composent son catalogue. L'année 2000 a été marquée par deux créations, entendues à travers toute l'Europe : Die Hamletmaschine-Oratorio, sur un texte de Heiner Müller et le spectacle musical Machinations, commande de l'Ircam, qui s'est vu décerner par la Sacem le Prix de la meilleure création de l'année.

En 2004, outre l’opéra Avis de tempête, il compose Dark side, d'après l'Orestie d'Eschyle. L'été 2006 voit la création de la Wölfli Kantata sur des textes d'Adolf Wölfi et de Contretemps. En décembre 2007 est créé Le petit poucet d’après le conte éponyme de Charles Perrault, en collaboration avec le vidéaste-plasticien Hans Op de Beeck.

Georges Aperghis was born in Athens, Greece, on December 23, 1945. His father Achilles, a sculptor, and his mother Irene, a painter, gave him a rich artistic background in post-war Greece and allowed him great freedom, providing the basis for what has become a highly original, independent career as a composer.

Mainly self-taught, Aperghis divided his interest between painting and music, which he discovered through radio and the occasional piano lesson from a family friend. In Athens, he knew little about the European avant-garde but he read scores from the repertoire and heard some Schoenberg, Bartók and Stravinsky. The first experiments in musique concrete by Pierre Schaeffer and Pierre Henry came as a revelation. By 1963, he had decided to give up painting and settled in Paris to continue studying music. There, he discovered the world of new music through the Domaine Musical and concerts at the Maison de la Radio.

His earliest works; Antistixis, for three string quartets, Anakroussis for seven instruments (1967) and Bis for two orchestras (1968) show the influence both of serialism and of Xenakis's research. He himself described these pieces as studies; pursuing a need to develop a freer, more personal language, he gravitated towards the work of John Cage and Mauricio Kagel and towards the theatre, which he discovered through his wife, the actress Edith Scob.

In 1971, Aperghis composed La tragique histoire du nécromancien Hieronimo et de son miroir, for two women's voices, speaking and singing, lute and cello. It was his first attempt at music theatre, demonstrating a fascination with the relationship between music, words and the stage, which he continues to explore today. For the Avignon Festival, he composed La tragique histoire... (1971), Vesper (1972), Pandaemonium (1973), and his opera Histoire de loups (1976).

Since 1976, he has divided his time between three central passions. After founding the Atelier Théâtre et Musique (ATEM), based in Bagnolet for 15 years, now in Nanterre, he completely changed his approach to composition. He began creating performances that used both actors and musicians; he based works; created gradually in the rehearsal process; on everyday events transported to a poetic, often absurd and satirical world. He treated voice, instrument, movement, text and staging equally, eschewing standard theatrical and orchestral hierarchies. Between La bouteille à la mer, in 1976, and 1990, he worked with the ATEM on some 20 productions, the most recent being Conversations (1985), Enumerations (1988), Jojo (1990) and H, litanie musicale et égalitaire (1992).

His second passion lies in developing chamber and orchestral music, vocal and instrumental works, for a wide variety of combinations. He has made an extensive series of pieces for solo instrument, composed for particular performers and often containing theatrical aspects, sometimes simply in the form of movement. His taste for experiment and provocation; for example, in Die Wände haben Ohren for large orchestra (1972); is always apparent but, unlike his music theatre, this work is not specifically theatrical. Everything is determined by the writing. It is rhythmically complex and always full of a vigorous energy that springs from extreme registers, dynamics and virtuosity, and from combinations such as voice and instrument, strings and percussion, sound and noise.

His third love, opera, brings together all these concerns, where the words are the vital unifying element and the voice the principal means of expression. Apherghis has written eight operas, based on Jules Verne (Pandaemonium, 1973) Diderot (Jacques le fataliste, 1974), Freud (Histoire de loups, 1976), Edgar Allan Poe (Je vous dis que je suis mort, 1978), a letter from Bettina Brentano to Goethe (Liebestod, 1981) and Alain Badiou (L'Echarpe rouge, 1984). His work Avis de Tempête (2004), premiered by the Lille Opera received the Critic’s Grand Prize in 2005.

He also has composed numerous works for solo instruments, chamber groups, and for orchestra. His music has theatrical and verbal elements, as suggested by the title: Quatre Récitations for cello (1980).

His catologue consists of over 100 works. In 2000 he had two premiers heard throughout Europe: Die Hamletmaschine-Oratorio, based on a text by Heiner Müller and the musical extravaganza Machinations , a comission from Ircam, which received the Best New Work of the Year prize from SACEM.

In 2004, in addition to the opera Avis de tempête he wrote Dark Side, based on l’Orestie by Eschyle. In the summer of 2006 his works Wölfli Kantata, based on texts by Wölfi and Contretemps were premiered. In December of 2007 his work Le petit poucet based on a work of that name by Charles Perrault, in collaboration with the the videographer-artist Hans Op de Beek was permiered.