Category: cv (Page 3 of 4)

Views: 2

Jean-Marie Simonis was born on November 22, 1931.

After completing his classical studies in Greek and Latin, he entered the Royal Conservatory of Music in Brussels, where he won numerous First Prizes, primarily in composition (harmony, counterpoint, fugue), as well as the Gevaert Prize.

A recipient of the Prix de Rome and numerous composition prizes, including the SABAM Prize in 1989 for his entire body of work, he won the Queen Elisabeth Competition in 1975 and 1978 (the required piece for the second round) for his works “Evocations” and “Notturno,” both for piano.

His “Cantilène” for violin and orchestra was chosen as the required piece for the final round of the Queen Elisabeth Competition in 1985.
His work “Eclosions” won First Prize at the competition organized by the Belgian Guides Band in 1991 to celebrate the 60th birthday of King Baudouin and the 40th anniversary of his reign.

He is an honorary professor at the Royal Conservatory of Brussels (harmony) and at the Queen Elisabeth Music Chapel (harmony, counterpoint, and fugue).

Since 1985, he has been a member of the Royal Academy of Sciences, Letters and Fine Arts of Belgium. He was director of the Fine Arts Section in 1997.

Jean-Marie Simonis is the composer of symphonic, vocal, and instrumental works; some have been performed worldwide. Most have been published, and about twenty have been recorded on records or CDs.

Some works:

• Orchestra: “Three Sketches”, “Autumn”, “Little Satirical Suite”, “Escapes”, “Cantilène” (concerto for violin and orchestra), “Espressioni”, “Eclosion” (for wind orchestra).
• String Orchestra: “Sinfonia da camera”, “Polyphonies”, “Intrada alla francese”
• Chamber Music: “Duetti” for viola and piano, “Séquences” for clarinet and piano, “Suggestions” for flute and percussion, “Boutades” for 4 saxophones, “Mouvements” for two pianos, “Trois poèmes” for violin and piano, “Canzoni a cinque” for brass quintet, “Résonances” for percussion and piano, “Fantasia a due” for violin and piano, “Parcours” for 2 violins and piano, “Escapades” for 4 keyboard percussionists, “Fabliau” for bassoon and piano, “Ateliers 1920” for 4 cellos, “Incontro” I for violin and piano, II for viola and piano, III for cello and piano, IV for double bass and piano, “A la Belle Epoque” for 9 wind instruments.
• Piano: “Historiettes”, “Evocations”, “Notturno”, “Incantations”, “Le Secret des Images”
• Vocal works: “Gens de maison” (opera buffa), “Trois Lagu Dolanan” for soprano and percussion, “Exultet terra” for choir and orchestra
• Music for theater, film, and television

“Deeply attuned to contemporary musical trends, he is nevertheless not an avant-garde musician: he establishes himself as a resolutely modern composer marked by a classical spirit and balance” (D. von Volborth)

“While not avant-garde, Jean-Marie Simonis nevertheless offers an essentially personal, vibrant language, capable of treating material with partially traditional components in a new way” (M-P Cantarella in “La Libre Belgique”)

Views: 0

Born in Ath in 1954, Jean-Pierre Deleuze pursued his musical studies at the Royal Conservatory of Brussels. In 1980, after winning a first prize in harmony in Jean-Marie Simonis’s class, he turned to the study of composition, which he continued under Marcel Quinet for five years.

He also completed his studies at the Royal Conservatory of Brussels, winning a first prize in fugue in Jacques Leduc’s class. His participation in a 1987 workshop on musical analysis led by Olivier Messiaen significantly influenced his aesthetic direction.

His musical language was initially influenced by the late works of Alexander Scriabin, leading him to seek a “harmonically colored” music.

In “Lethamorphos XXI” (based on a poem by Jacques Crickillon, 1996), the use of quarter tones constitutes an initial exploration of microtonal writing. From “Ellipsen” (trio for clarinet, violin and piano, 1998, a work for which the Royal Academy of Belgium awarded him the Irène Fuerison Prize), the use of untempered sounds is more precisely part of the deployment of a mode resulting from the alignment of harmonic sounds. In general, in his latest works, “his writing evolves towards a contemplative imagination, notably in “Espaces Oniriques”” [Christophe Pirenne in “Les musiques nouvelles en Wallonie et à Bruxelles”, ed. Mardaga]. The influence of the spectral aesthetics of Giacinto Scelsi and Tristan Murail and that of oriental conceptions is increasingly marked; This is particularly evident in “Four Haiku, Poetic Evocations for Organ” (premiered in Sapporo in 2004) and “Âlap” (2005), for bansuri, arpeggione, and guitar.

A professor of composition since 1989 and of advanced composition since 2002 at the Royal Conservatory of Mons, he has developed an original pedagogy based on the rational study of the syntax, techniques, and styles of great composers, from Renaissance and Baroque forms to the techniques of various 20th-century composers. He also taught musical analysis at the Queen Elisabeth Music Chapel during the 2001–2004 academic year. In January 2007, he was elected a member of the Royal Academy of Belgium.

Views: 3

Jacqueline Fontyn was born in Antwerp on December 27, 1930.

Recognizing her early musical talent, her parents entrusted her, shortly after her fifth birthday, to the Russian pedagogue Ignace Bolotine, who gave her daily piano lessons, encouraged her love of improvisation, and of whom she retained wonderful memories.

At 14, she decided to become a composer. After studying music theory with Marcel Quinet, she went to Paris where Max Deutsch introduced her to the world of Schoenberg and initiated her into twelve-tone technique, a language she would use until 1979 – but always in a flexible and very free manner.

In 1956, she also attended Hans Swarowsky’s conducting class at the Academy of Music and Performing Arts in Vienna.

From 1963, she taught music theory at the Royal Conservatory of Antwerp; in 1970, she was appointed professor of composition at the Royal Conservatory of Brussels, a position she held until 1990, while also accepting numerous invitations from universities and conservatories, notably in Europe (Germany, France, Hungary, the Netherlands, Poland, Switzerland), the United States (from New York to San Francisco), the Middle East, Asia (China, Korea, Singapore, Taiwan), and New Zealand. Her catalogue of works comprises more than 100 pieces: orchestral, vocal, instrumental, and chamber music, which is performed worldwide and featured in the programs of prestigious orchestras and festivals.

Among the many distinctions bestowed upon her are the Oscar Espla Prize in Spain and the Arthur Honegger Prize from the Fondation de France, the commission of the Violin Concerto required for the finals of the Queen Elisabeth International Music Competition in 1976, and two commissions from the Koussevitzky Foundation at the Library of Congress in Washington.

A member of the Royal Academy of Sciences, Letters and Fine Arts of Belgium, Jacqueline Fontyn was granted the title of Baroness by the King in 1993 in recognition of her artistic merits.

A taste for rich harmonic textures, a supple rhythm, and a constantly renewed interest in exploring instrumental resources are all elements of an ever-evolving musical language, whose expressive and poetic dimensions appeal to the listener’s sensitivity and curiosity.

Views: 1

Views: 2

Patrick Dheur is one of the world’s most renowned Belgian pianists. He explores his creativity through the many facets of musical art.

His career as a concert pianist began after completing his studies at the Royal Conservatory of Liège (Belgium), his hometown. He has won numerous international competitions and awards, including first prize at the Szymanowski Competition.

The United States played a significant role in his early career. Selected by Leon Fleisher to attend the Peabody Conservatory in Baltimore, he spent considerable time there, giving numerous concerts, including a remarkable recital debut at Lincoln Center in New York City.

He is an internationally renowned soloist with numerous orchestras (the Scottish Chamber Orchestra, the Moscow Soloists with Yuri Bashmet, the Belgian National Orchestra, the Philharmonic Orchestras of Liège, Grenoble, Hong Kong, Jerusalem, and Caraca, the Springfield Symphony, the Norfolk Symphony, the G. Enescu Orchestra of Bucharest, the Wiener Sinfonietta, the Camerata de Lausanne with Pierre Amoyal, and the Royal Chamber Orchestra of Wallonia, among others).

His discography is growing, and his catalog includes more than twenty CDs.

He is regularly invited to serve as a juror at major international competitions. He is the curator of the Grétry Museum in Liège.

Patrick Dheur is known for his commitment to the musical culture of the city of Liège. His complete piano works by César Franck (3 CDs) are a prime example. He is also dedicated to promoting the masterpieces of Liège composers. Appointed by the As a member of the Wallonia-Brussels Federation of Belgium, and commissioned to oversee the bicentennial commemorations of composer André-Modeste Grétry’s death, he discovered the unpublished and unperformed original manuscript of the opera “L’Officier de la Fortune” (The Officer of Fortune), dating from 1770. He then undertook the study and adaptation, enabling its premiere by the Royal Opera of Liège.

Patrick Dheur is also a talented and published composer and writer.
His output as a composer includes some thirty works (symphonic piano pieces, chamber music, concertos, cantatas, songs, etc.).
Patrick Dheur’s literary work, “La musique au bout des doigts” (Music at Your Fingertips), published by Luc Pire, was recently translated into Chinese to support his Asian tours. His 2016 season took him to Italy, Norway, France, and the United States, culminating in a concert at Carnegie Hall. New York, November 16.

Views: 4

Né à Liège en 1957, Marc-Henri Cykiert a commencé à jouer la guitare à treize ans, a étudié la musique électronique au Centre de Recherches Musicales de Wallonie avec Frederic Nyst et la musique brésilienne avec José Barrense-Dias.

En 1979, il suit les cours du GIT (Guitar Institute of Technology) à Los Angeles.
De 1980 à 1986, de retour en Belgique, il étudie la composition et l’orchestration avec le compositeur américain Frederic Rzewski et Philippe Boesmans au Conservatoire de Liège.

Il a écrit pour plusieurs musiciens et ensembles, notamment: Michael Guttman, Frederic Rzewski, Suzanna Klintcharova, Steve Houben & Strings, Arriaga String Quartet, Costas Cotsiolis, José Barrense-Dias, Cecile Broche, Luc Tooten, Weber Iago, Camerata Romeu String Orchestra, Katerina Verbovskaya, Bobby Mitchell.

Avec Frederic Rzewski et Michaël Guttman, il a enregistré un CD de ses compositions pour violon et piano ‘Capriccio Hassidico’. Deux autres CD pour piano solo : ‘2 for Peace’ avec Weber Iago, et ‘Katerina Verbovskaya plays Marc-Henri Cykiert’.

Ses compositions ont été jouées en Belgique, France, Hollande, Allemagne, Danemark, U.S.A., Cuba et Chine.

Il parle ici de sa composition “A Marc CHAGALL“

Views: 2

After studying at a Brussels music academy, David Baltuch continued his musical training at the Royal Conservatory of Brussels, where he earned First Prizes in solfège, piano, chamber music, written harmony, counterpoint, fugue, and conducting, as well as Advanced Diplomas in solfège (specialization) and chamber music.

He then pursued further studies in Paris (École Normale Alfred Cortot), where he obtained a diploma in conducting. Finally, David Baltuch completed a doctorate at Birmingham City University on the phenomenon of conducting.

Views: 1

Sarah Wéry began her musical journey through the cello and improvisation. At 18, she went to Germany to study with composer Hubert Bergmann for a few months, and it was then that she decided to dedicate herself fully to music.

She then studied in Liège, in Michel Fourgon’s composition class, where she began to develop her own musical language by exploring questions such as: How to make the most heterogeneous elements coexist, or how to create a sense of explosion while maintaining fluidity and speaking directly to the listener. She then began to use the twelve-tone system as both a macro and micro structure.

Views: 3

Johan Sluys holds a Bachelor’s degree in Classical Philology from KU Leuven, a First Prize in Piano and Chamber Music, a Master’s degree in Composition from CRBruxelles, and a Master’s degree in Composition from CRMons (Cl. Ledoux).

His works have earned him the Composition Prize of the Province of Flemish Brabant (2002) and the Jef Van Hoof Triennial Composition Competition (2016).

Views: 5

Raoul De Smet werd geboren op 27 oktober 1936 in Borgerhout.

Hij studeerde Romaanse filologie en muziekgeschiedenis aan de Katholieke Universiteit te Leuven. Hierna volgde hij een specialisatiejaar als beursstudent in Madrid en Salamanca. Vier jaar was hij werkzaam in Tunesië als lesgever; hij doceerde tot 1996 Spaans aan de Katholieke Vlaamse Hogeschool te Antwerpen.

Zijn muzikale basisopleiding (solfège, harmonie, piano) genoot hij aan de
Muziekacademie van Deurne. Afgezien van deze opleiding was hij als musicus autodidact, tot hij vanaf 1966 compositie ging studeren bij Lucien Goethals en Louis De Meester aan het IPEM te Gent, bij August Verbesselt te Antwerpen en bij Ton de Leeuw te Amsterdam.

Door zelfstudie van theoretische werken (Schönberg, Krenek, Koechlin, Messiaen, e.a.) en van partituren, en door het beluisteren van allerlei genres heeft hij een persoonlijke taal ontwikkeld.

In 1972 nam De Smet deel aan de Ferienkurse für Neue Musik te Darmstadt, waar twee van zijn werken werden uitgevoerd. Hij woonde tevens de Gaudeamus-dagen bij in Bilthoven.

In 1976 nam hij deel aan het American Seminar te Salzburg over Contemporary American Music.

In 1977 vertegenwoordigde hij het IPEM op het Colloquium Musica/Sintesi in het
kader van de Biënnale van Venetië.

Van 1974 tot 1994 organiseerde Raoul De Smet te Antwerpen de Orphische Avonden, concerten voor eigentijdse (vooral Vlaamse) kamermuziek te Antwerpen.

Tussen 1980 en 1984 was hij lid van de Raad van Bestuur van het Centrum voor Muziek te Leuven.

Tussen 1983 en 1993 programmeerde De Smet concerten van eigentijdse kamermuziek in de Foyer van de Stadsschouwburg (Antwerpen).

In 1976, 1985 en 1990 organiseerde hij Elektronische Muziekdagen in het ICC en deSingel.

In 1981 startte hij de E.M.-reeks, een uitgave in facsimile van kamermuziek van Vlaamse componisten.

In 1987 stichtte hij de OrpheusPrijs, een Tweejaarlijks Internationaal Concours voor de interpretatie van eigentijdse kamermuziek.

Sinds 1999 organiseert hij het “Belgian Chocolates” festival.