{"id":2848,"date":"2021-06-28T14:25:53","date_gmt":"2021-06-28T12:25:53","guid":{"rendered":"https:\/\/lacourroie.org\/?page_id=2848"},"modified":"2021-06-28T17:49:48","modified_gmt":"2021-06-28T15:49:48","slug":"en-savoir-2021-07-03","status":"publish","type":"page","link":"https:\/\/lacourroie.org\/index.php\/en-savoir-2021-07-03\/","title":{"rendered":"en savoir + 2021.07.03"},"content":{"rendered":"\t\t
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Samedi 03 juillet \u00e0 20h21 <\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Douze lettres \u00e0 Elise<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ensemble Musicatreize<\/b>
Roland Hayrabedian \u2022 direction
Elena Rozanova \u2022 piano
Jean-Etienne Soty \u2022 accord\u00e9on<\/p>

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Sopranos<\/strong>
Amandine Trenc \u2022 Kaoli Isshiki-Didier \u2022 Claire Gouton
Mezzo-sopranos<\/strong>
Madeleine Webb \u2022 Laure Ilef \u2022\u00a0 Alice Fagard
T\u00e9nors<\/strong>
Vincent Li\u00e8vre-Picard \u2022 Samuel Zattoni-Rouffy \u2022 Xavier de Lignerolles
Basses<\/strong>
Patrice Balter \u2022 Laurent Bourdeaux \u2022 Philippe Berg\u00e8re<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tRoland Hayrabedian<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Roland Hayrabedian<\/h1><\/div><\/div>

Roland Hayrabedian cr\u00e9e en 1978 le Ch\u0153ur Contemporain puis Musicatreize en 1987. Il a dirig\u00e9 le long de sa carri\u00e8re de nombreuses formations orchestrales et vocales (le Ch\u0153ur et la Ma\u00eetrise de de Radio France, l\u2019Orchestre philharmonique de Radio France, l\u2019Orchestre national de Lorraine, l\u2019Orchestre philharmonique de Marseille, l\u2019Orchestre r\u00e9gional d\u2019Avignon, l\u2019Orchestre r\u00e9gional de Cannes, le National Choir of Ireland, le Nederlands Kamerkoor,\u2026) et collabor\u00e9 avec les percussions de Strasbourg, Musique Vivante, Musique Oblique, 2e2m, TM+, l\u2019ensemble Itin\u00e9raire\u2026.<\/p>

Avec Musicatreize l\u2019axe central reste le travail avec les compositeurs d\u2019aujourd\u2019hui : Edith Canat de Chizy, Zad Moultaka, Oscar Strasnoy, Michel Petrossian, Philippe Schoeller, Alexandros Markeas, \u2026 Le nom de Roland Hayrabedian est tr\u00e8s li\u00e9 \u00e0 celui de Maurice Ohana, compositeur dont il est un des plus fid\u00e8les interpr\u00e8tes et dont il a enregistr\u00e9 la presque totalit\u00e9 de l\u2019\u0153uvre vocale.<\/p>

Attir\u00e9 par la musique de sc\u00e8ne, il collabore avec de nombreux metteurs en sc\u00e8ne et chor\u00e9graphes comme r\u00e9cemment Jeanne Debost, Thierry Thieu Niang, Sybille Wilson, Philippe Carbonneaux\u2026 De 2002 \u00e0 2005, il occupe le poste de directeur musical de l\u2019Orchestre des Jeunes de la M\u00e9diterran\u00e9e. En 2010 et 2011 il prend part \u00e0 l\u2019Acad\u00e9mie vocale contemporaine du Festival d\u2019Aix-en-Provence. Il compte plus de 30 disques sous sa direction musicale dont plusieurs ont obtenu des distinctions exceptionnelles. Il enseigne \u00e9galement la direction au CRR de Marseille depuis 1984, la direction d\u2019ensembles vocaux et instrumentaux \u00e0 l\u2019Institut d\u2019enseignement sup\u00e9rieure de la musique (IESM) d\u2019Aix-en-Provence et se consacre par des masterclasses au perfectionnement des jeunes chefs de ch\u0153ur et d\u2019orchestre.<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEnsemble Musicatreize<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

L\u2019ensemble Musicatreize<\/h1><\/div><\/div>

Musicatreize a \u00e9t\u00e9 cr\u00e9\u00e9 en 1987 par Roland Hayrabedian. L\u2019ensemble depuis ce jour d\u00e9fend le r\u00e9pertoire du XXe si\u00e8cle, augmente et diversifie ce r\u00e9pertoire par de nouvelles oeuvres, confronte les \u00e9poques et les esth\u00e9tiques et a \u00e9tabli dans le sud de la France un outil privil\u00e9gi\u00e9 de cr\u00e9ation musicale.<\/p>

Ensemble \u00e0 g\u00e9om\u00e9trie variable, Musicatreize explore l\u2019univers vocal sous toutes ses formes, de 12 voix a cappella aux \u0153uvres pour ch\u0153ur et orchestre en passant par le th\u00e9\u00e2tre musical. La mise en regard des esth\u00e9tiques permet de trouver les liens entre Roland de Lassus (Prophetiae Sibyllarum) et Maurice Ohana (Office des oracles), Franz Schubert (Gesang der Geister \u00fcber den Wassern) et Michel Petrossian (Amours sidoniennes) ou encore Cl\u00e9ment Janequin (Il estoit une fillette) et Philippe Schoeller (Eros-One) ou R\u00e9gis Campo (Secouez-moi).<\/p>

Se refusant \u00e0 toute chapelle esth\u00e9tique, Musicatreize sert la cr\u00e9ation musicale dans ce qu\u2019elle a de plus intrins\u00e8quement sensible et original avec le d\u00e9sir de mettre en avant un esprit m\u00e9diterran\u00e9en. L\u2019\u00e9ventail des courants de pens\u00e9e musicale va d\u2019Alberto Posadas \u00e0 Tapio Tuomela, d\u2019Edith Canat de Chizy \u00e0 Oscar Strasnoy, de Lucien Gu\u00e9rinel \u00e0 Zad Moultaka ou de G\u00e9rard Grisey \u00e0 Ant\u00f3nio Chagas Rosa. Musicatreize a souvent \u00e9t\u00e9 la premi\u00e8re exp\u00e9rience d\u2019\u00e9criture vocale de nombreux jeunes compositeurs.<\/p>

En plus de 30 ann\u00e9es d\u2019existence Musicatreize a su cr\u00e9er une relation sur le long terme entre interpr\u00e8tes, compositeurs. Avec plus de 300 oeuvres nouvelles, le plus souvent organis\u00e9es en cycles (Les Berceuses, Les Sept contes, Odyss\u00e9es dans l\u2019espace, Voix Prioritaire, Trois Cantates polici\u00e8res, Les Douze lettres \u00e0 Elise) et toujours accompagn\u00e9es d\u2019actions parall\u00e8les, Musicatreize a ainsi pu tisser une lien solide avec ses publics.<\/p>

En 2007 Musicatreize obtient une Victoire de la Musique Classique \u2013 cat\u00e9gorie Ensemble de l\u2019Ann\u00e9e. L\u2019ensemble a \u00e9t\u00e9 nomm\u00e9 en 2017 \u00ab Compagnie nationale \u00e0 rayonnement international \u00bb par le Minist\u00e8re de la culture et de la communication.<\/p><\/div><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Programme<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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12 cr\u00e9ations pour 12 voix, piano et accord\u00e9on de<\/b> (par ordre alphab\u00e9tique) : Benjamin Attahir, Ludwig van Beethoven, Birke Bertelsmeier, Violeta Cruz, Sivan Eldar, Ivan Fedele, Joan Magran\u00e9 Figuera, Stanislav Makovsky, Alexandros Markeas, Annette Mengel, Philippe Schoeller, Oscar Strasnoy, Iris Ter Schiphorst<\/p>

Pour f\u00eater les 250 ans de la naissance de Beethoven, l\u2019ensemble vocal marseillais Musicatreize part d\u2019une id\u00e9e stimulante : commander douze Lettres \u00e0 \u00c9lise \u00e0 douze compositeurs. Aux c\u00f4t\u00e9s d\u2019\u0153uvres de Beethoven, voici un floril\u00e8ge d\u2019hommages de notre temps. <\/b>
Quelle serait aujourd\u2019hui votre Lettre \u00e0 \u00c9lise ? Qu\u2019imagineriez-vous lui \u00e9crire ? Six notes suffiraient-elles pour mettre en musique votre missive ? Telles sont les questions pos\u00e9es par Roland Hayrabedian, directeur de Musicatreize, aux compositeurs Benjamin Attahir, Philippe Schoeller, Oscar Strasnoy, Alexandros Markeas\u2026 pour r\u00e9inventer et r\u00eaver ces quelques notes c\u00e9l\u00e9brissimes \u00e9crites en 1810.
Venus de Tel Aviv, Moscou, Buenos Aires, Paris, Hanovre, ces compositeurs ont suivi pour certains un cursus classique, pour d\u2019autres une formation plus personnelle. Ils appartiennent \u00e0 plusieurs g\u00e9n\u00e9rations. Tous poss\u00e8dent un univers singulier. Comme autant de pens\u00e9es musicales rassembl\u00e9es autour du chef-d\u2019\u0153uvre de Beethoven avec un piano, un accord\u00e9on et douze voix.<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Une coproduction Musicatreize \/ Cit\u00e9 de la Voix de V\u00e9zelay
Cocommanditaires des \u0153uvres : Musicatreize \/ Cit\u00e9 de la Voix de V\u00e9zelay \/ Philharmonie de Paris
Spectacle soutenu par la Sacem et la Spedidam
\u00ab M\u00c9C\u00c9NAT MUSICAL SOCI\u00c9T\u00c9 G\u00c9N\u00c9RALE EST LE M\u00c9C\u00c8NE PRINCIPAL DU SPECTACLE \u00ab DOUZE LETTRES A ELISE \u00bb<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tD\u00e9tail du programme<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Joan Magran\u00e9<\/b><\/span> (1988) : <\/span>Wandrers Nachtlied II<\/i><\/span> pour 8 voix et accord\u00e9on (texte de JW von Goethe)<\/span><\/p>

Philippe Schoeller<\/b><\/span> (1957) : <\/span>Lettre \u00e0 Esile<\/i><\/span> pour 12 voix, accord\u00e9on et piano (texte du compositeur)<\/span><\/p>

Ludwig van Beethoven<\/b><\/span> (1770-1827) : <\/span>Sonate pour piano n\u00b030 en mi majeur<\/i><\/span> op.109, 3e mouvement \u00ab\u00a0Tema con variazioni\u00a0\u00bb – Th\u00e8me<\/span><\/p>

Birke Bertelsmeier<\/b><\/span> (1981) : <\/span>VoKaLise<\/i><\/span> pour 12 voix, accord\u00e9on et piano (texte : <\/span>mots extraits de la lettre \u00ab\u00a0Unsterbliche Geliebte\u00a0\u00bb de Ludwig van Beethoven)<\/span><\/p>

Ludwig van Beethoven<\/b><\/span> (1770-1827) : <\/span>Sonate pour piano n\u00b030 en mi majeur<\/i><\/span> op.109, 3e mouvement \u00ab\u00a0Tema con variazioni\u00a0\u00bb – Variation I<\/span><\/p>

Oscar Strasnoy <\/b><\/span>(1971) : <\/span>F\u00fcr Felice<\/i><\/span> pour 12 voix et accord\u00e9on (texte : correspondance de Franz Kafka)<\/span><\/p>

Annette Mengel<\/b><\/span> (1961) : <\/span>Appassionato<\/i><\/span> pour 6 voix d\u2019hommes et piano (texte : correspondance de Ludwig van Beethoven)<\/span><\/p>

Ludwig van Beethoven<\/b><\/span> (1770-1827) : <\/span>Sonate pour piano n\u00b030 en mi majeur <\/i><\/span>op.109, 3e mouvement \u00ab\u00a0Tema con variazioni\u00a0\u00bb – Variation II<\/span><\/p>

Ivan Fedele<\/b><\/span> (1953) : <\/span>She Walks in Beauty<\/i><\/span> pour 3 voix de femmes et piano (texte de Lord Byron)<\/span><\/p>

Iris ter Schiphorst<\/b><\/span> (1956) : <\/span>Le Tremblement du moi fant\u00f4me\u2026 pour Adrian Piper<\/i><\/span> pour 6 voix de femmes a cappella (texte de la compositrice) <\/span><\/p>

Stanislav Makovsky<\/b><\/span> (1988) : <\/span>Ewig<\/i><\/span> pour 8 voix et piano (texte de Ludwig van Beethoven) <\/span><\/p>

Ludwig van Beethoven<\/b><\/span> (1770-1827) : <\/span>Sonate pour piano n\u00b030 en mi majeur<\/i><\/span> op.109, 3e mouvement \u00ab\u00a0Tema con variazioni\u00a0\u00bb – Variation III et IV<\/span><\/p>

Violeta Cruz<\/b><\/span> (1986) : <\/span>From V. to V. by V.<\/i><\/span> pour 12 voix et accord\u00e9on (texte de Virginia Woolf et texte de loi de finance du gouvernement) <\/span><\/p>

Benjamin Attahir<\/b><\/span> (1989) : <\/span>De nos r\u00eaves<\/i><\/span> pour 8 voix et accord\u00e9on (texte de Lancelot Hamelin)<\/span><\/p>

Ludwig van Beethoven<\/b><\/span> (1770-1827) : <\/span>Sonate pour piano n\u00b030 en mi majeur<\/i><\/span> op.109, 3e mouvement \u00ab\u00a0Tema con variazioni\u00a0\u00bb – Variation V et VI<\/span><\/p>

Sivan Eldar<\/b><\/span> (1986) : <\/span>Once loved<\/i><\/span> pour soprano, baryton et accord\u00e9on (texte de Cordelia Lynn)<\/span><\/p>

Alexandros Markeas<\/b><\/span> (1965) : <\/span>Lettre \u00e0 Elisa Fleury<\/i><\/span> pour 12 voix, accord\u00e9on et piano <\/span><\/p>

Ludwig van Beethoven<\/b><\/span> (1770-1827) : <\/span>Bagatelle en la mineur<\/i><\/span> WoO 59 \u00ab\u00a0F\u00fcr Elise\u00a0\u00bb<\/span>(texte de Elisa Fleury) <\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tinfos pratiques<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Samedi 03 juillet \u00e0 20h21 Douze lettres \u00e0 Elise Ensemble MusicatreizeRoland Hayrabedian \u2022 directionElena Rozanova \u2022 pianoJean-Etienne Soty \u2022 accord\u00e9on SopranosAmandine Trenc \u2022 Kaoli Isshiki-Didier \u2022 Claire GoutonMezzo-sopranosMadeleine Webb \u2022 Laure Ilef \u2022\u00a0 Alice FagardT\u00e9norsVincent Li\u00e8vre-Picard \u2022 Samuel Zattoni-Rouffy \u2022 Xavier de LignerollesBassesPatrice Balter \u2022 Laurent Bourdeaux \u2022 Philippe Berg\u00e8re Roland Hayrabedian Roland Hayrabedian Roland […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"right-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"disabled","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-2848","page","type-page","status-publish","hentry"],"yoast_head":"\nen savoir + 2021.07.03 - lacourroie<\/title>\n<meta name=\"description\" content=\"%\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/lacourroie.org\/index.php\/en-savoir-2021-07-03\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"en savoir + 2021.07.03 - lacourroie\" \/>\n<meta property=\"og:description\" content=\"%\" \/>\n<meta property=\"og:url\" content=\"https:\/\/lacourroie.org\/index.php\/en-savoir-2021-07-03\/\" \/>\n<meta property=\"og:site_name\" content=\"lacourroie\" \/>\n<meta property=\"article:modified_time\" content=\"2021-06-28T15:49:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.musicatreize.org\/wp-content\/uploads\/2019\/06\/musicatreize-copyright-Anne-Loubet.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/lacourroie.org\\\/index.php\\\/en-savoir-2021-07-03\\\/\",\"url\":\"https:\\\/\\\/lacourroie.org\\\/index.php\\\/en-savoir-2021-07-03\\\/\",\"name\":\"en savoir + 2021.07.03 - 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