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Ensemble vocal Callisto, founded in 2013 by choirmaster Elisabeth Baconnais and based in the  Pays de la Loire, France, reunites professional young singers and actresses.

The ensemble performs with variable geometry, from 2 to 15 singers, et explores the repertoire from baroque to contemporay creation, via German romantism and French music of the XXe century. The ensemble likes to create an exchange with the public through concerts in which the spatialisation of the stage is particularly important. Callisto is supported by the city of Nantes and gives regularly concerts during the Folle Journée de Nantes, such as the festival Arts Scènes at the Chapelle de l'immculée of with Les amis de l'orgue. 

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Emilia Baranowska is a French-Bulgarian cellist and a major artist from her generation. She is graduated from the Ecole Normale de Musique of Paris and the Juilliard School of New-York ; she is engaged in an international career and gives concerts in Europe and all around the world: USA, Mexico, China, Canada etc, in the most prestigious concert halls (Carnegie Hall in New-York, Konzerthaus in Berlin...) within major festivals (Donaueschingen Musiktage, Young Euroclassic).

She is highly involved in playing contemporary music and many composers has written for her (Georges Zamfir, Sergio Calligaris, Dimiter Christoff...). She recorded with Bulgarian bassist Boris Christoff  at Deutsche Grammophon such as the album "Bach An' Alpe" with organist Jean-Paul Imbert on Festivo records. 

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Quatuor Girard is composed of members of one large family and was born of a shared passion brought to life by family performances of chamber music from a very early age. Trained by the Ysaÿe Quartet at Paris’s Conservatoire Régional and then by Miguel da Silva at Genève’s Haute Ecole de Music, winners of many awards (Académie Maurice Ravel in 2010, Geneva competition in 2011, HSBC Academy of the Aix-en-Provence festival ...), they are currently quartet in residence at the Queen Elisabeth of Belgium's Royal Chapel, where they benefit from close contact with Artemis quartet, and are also supported by the Singer-Polignac Foundation.   

Regularly invited by France Musique and by Radio Classique, the quartett released its first album on the Discophiles Français label and was lauded by  many music critics. 

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Fabien Lévy studied composition with Gérard Grisey at the Paris Conservatoire. He was resident at theVilla Medici / French academy in Rome and in Berlin with the DAAD Artist Program. His works, published by Billaudot and Ricordi Germany, have been performed by the Ensemble Recherche, the neue Vocalsolisten Stuttgart, the Ensemble Modern of Frankfurt, the Argento Ensemble, the Tokyo Philharmonic Orchestra or the Berlin Radio Symphony orchestra (among others). He won the 2004 Förderpreis from the Ernst von Siemens Förderpreis Foundation for music.

He taught at the Hochschule für Musik Hanns-Eisler in Berlin (Germany), was 2006-2012 Assistant Professor of Composition at Columbia University in New York (USA) and is currently professor for composition at the Hochschule für Musik Detmold in Germany. He lives in Berlin.

 

Composers

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Elisabeth Angot was born in Paris in 1988. She studied instrumental composition alongside Thierry Blondeau and electroacoustic composition with Christine Groult. Since 2013 she is a student at the University of Arts in Berlin, Germany (UDK) and is currently completing a master degree with composer Maura Lanza. 

Elisabeth Angot's works have been played by the Jungendkammerorchester Berlin, the Quatuor Girard, ensemble Kuraia, ensemble Ilinx, ensemble Ereprejs… and with various festivals (Jeunes Talents Paris, Sound 59 in Perm, Russia...). She also plays her own works as a pianist. 

She co-founded Les Rencontres Musicales et Scientifiques with sociologist Célia Poulet in 2014.  This initiative reunites musicians and researchers during a highly original event offering concerts and roundtables. 

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Researchers

Célia Poulet is born in 1984. First Prize in piano and holding a DEM diploma from the Conservatoire of Avignon, she defended in 2011 a thesis in sociology on the apprenticeship of public speaking in Freemasonry, for which she won the Price of Excellence at Aix-Marseille University. She has been contract lecturer at the Ecole Normale Supérieure de Lyon and  Law School of Clermont-Ferrand. She is currently R&D director in a small French company. 

She is the author of fifteen articles published in collective books (such as Pedagogic Rights and democratic education, Routledge, 2016) and scientific journal. Her works focus on social change through the prism of apprenticeship, and she directs her current works on contemporary musical creation and composition curricula. She is co-founder of Les Rencontres Musicales et Scientifiques with composer Elisabeth Angot.

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Photo : Marije van den Berg

Philippe Vendrix is a Belgian musicologist and was born in1964. He is research director at the CNRS and leads the CERS (Centre des Etudes Supérieures sur la Renaissance). Since may 2016 he is the President of the University François-Rabelais of Tours, France.

Head of the research program "Ricercar", his works focus on musical notation, music in Holland at the XVth and XVIIIth centuries and the history of musical theory. He is author of many articles and books, such as La musique à la Renaissance (PUF, 1999) and Aux origines d'une discipline historique. La musique et son histoire en France aux XVIIe et XVIIIe siècles (Droz, 1993).

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Musicians

Mathilde Vallespir holds various diplomas in music such as a First Price in musical analysis (CNSMDP, class of Michaël Lévinas) and First Price in flute  (inter-conservatoires of Paris).

She is Lecturer in comparative litterature semiotics at the University of Paris Sorbonne (Paris IV). Her works focus on the comparison between arts from a semiotic point of view and on the interpretation of litterary and philosophic texts. 

She is the author of Lire, écouter, exorciser la guerre : essai de sémiotique comparée (poésie, musique), Paris, Champion, 2012 and is co-director of many books, such as La Violence du logos, entre sciences du texte, philosophie et littérature (with L. Kurts and M.-A. Watine, Paris, Garnier, 2013) and Lire Derrida ? (with D. Maingueneau, Limoges, Lambert-Lucas, 2015).

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Photo : Christophe Gateau

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Thierry Escaich, born in1965, is an organist, composer and improviser. He entered the Conservatoire National de Musique de Paris in1983 where he won eight First Prices. He is Professor of Composition and Improvisation at the Paris Conservatoire since 1992. He tours internationally as a concert organist and is the organist for the St-Étienne-du-Mont church in Paris since 1997. 

A former Composer in Residence with the Orchestre National de Lille and the Orchestre de Bretagne, Thierry Escaich is now composer-in-residence with the Orchestre National de Lyon, a post he has held since 2007. In 2017, he is nominated for the fourth time at the Victoires de la Musique classique for his oratorio Cris. He is the author of almost 100 pieces which seduce a large public. He has been composing numerous works for his own instrument in solist, ensemble or with orchestra and composes for various ensembles and styles, from solist pieces to chamber and symphonic music. 

His orchestra works album published by Accord-Universal won the "diapason d'or" in 2002. 

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Dominique Pradelle was born in 1964. He is a philosopher and translator. Professor of contemporary philosophy at the University of Paris-Sorbonne since 2013, he is specialised in contemporary German philosophy, metaphysics and phenomenology, and the philosophy of mathematics.

Dominique Pradelle is a former student at the Ecole Normale Supérieure and obtained the aggregation in philosophy in 1987. He completed a PhD degree in 1996 at the University Paris X Nanterre (supervisor: Jean-François Courtine) on the fundamental issues of Husserlian phenomenology of space. He wrote many books, such as Généalogie de la raison - Essai sur l'historicité du sujet transcendantal de kant à Heidegger (PUF, 2013), Par-delà la révolution copernicienne. Sujet transcendantal et facultés chez Kant et Husserl (PUF, 2012).