Jump to content

Joseph-François Kremer: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
m internet site
m Importing Wikidata short description: "French musician" (Shortdesc helper)
 
(23 intermediate revisions by 12 users not shown)
Line 1: Line 1:
{{Short description|French musician}}
[[File:Joseph-François Kremer.jpg|left|thumb|Joseph-François Kremer, october 2016]]
[[File:Joseph-François Kremer.jpg|thumb|<div style="text-align: center;">Joseph-François Kremer, October 2016</div>]]
⚫
'''Joseph-François Kremer''' (born 22 June 1954) is a [[French people|French]] [[composer]], [[Conducting|conductor]], [[violoncelist and [[musicologist]].<ref>[http://www.classicalmusicnow.com/jfk2fr.htm Classical Music Now]</ref>

⚫
'''Joseph-François Kremer''' (born 22 June 1954) is a French [[composer]], [[Conducting|conductor]], [[cellist]] and [[musicologist]].<ref>[http://www.classicalmusicnow.com/jfk2fr.htm Classical Music Now] {{webarchive|url=https://web.archive.org/web/20091017124210/http://www.classicalmusicnow.com/jfk2fr.htm |date=2009-10-17 }}</ref>


==Biography==
==Biography==
Joseph-François Kremer was born in [[Lyon]] (France) in 1954. Currently director of the Conservatoire Darius Milhaud of the City of Antony (Île-de-France). He is associated with an original movement in [[Postmodernism]], cited in the ‘‘Larousse de la musique’’.<ref>see ''Histoire de la musique'' published by Larousse, 2000, p.&nbsp;1137</ref> His compositional style is situated between the formal conception of a theorised musical heritage and the research of new freely referenced musical climates. He is very sensitive to the sound qualities of contemporary music as well as the human role in the context of musical interpretation. As a cellist, he studied with [[Robert Cordier]], [[Maurice Gendron]] and [[Claude Burgos]]. He studied orchestral conducting with [[J.C. Hartmann]]. As a composer, he was principally the disciple of [[Claude Ballif]].
Joseph-François Kremer was born in [[Lyon]] (France) in 1954. Currently director of the Conservatoire Darius Milhaud of the City of Antony (Île-de-France). He is associated with an original movement in [[Postmodernism]], cited in the ‘‘Larousse de la musique’’.<ref>see ''Histoire de la musique'' published by Larousse, 2000, p.&nbsp;1137</ref> He is interested in the sound qualities of contemporary music as well as the human role in the context of musical interpretation. As a cellist, he studied with [[Robert Cordier]], [[Maurice Gendron]] and [[Claude Burgos]]. He studied orchestral conducting with [[J.C. Hartmann]]. As a composer, he was principally the disciple of [[Claude Ballif]].


He has written several books which deal with musical phenomenology, especially on the symbolic forms of music (1984), on the great musical topics (1994), on [[musical aesthetics]] (2000), as well as on musical theory, among them the first French reissue of [[Jean-Philippe Rameau|Rameau]]’s ''Traité d'harmonie'' of 1722, a project supported by the Fondation Singer-Polignac in 1986, and in 1996 Rameau’s ''Nouveau système de musique théorique'' of 1726. Must be also mentioned several works of comparative aesthectics.<ref>see Bibliography</ref>
He has written several books which deal with musical phenomenology, especially on the symbolic forms of music (1984), on the great musical topics (1994), on [[musical aesthetics]] (2000), as well as on musical theory, among them the first French reissue of [[Jean-Philippe Rameau|Rameau]]’s ''Traité d'harmonie'' of 1722, a project supported by the Fondation Singer-Polignac in 1986, and in 1996 Rameau's ''Nouveau système de musique théorique'' of 1726. He has also written several works of comparative aesthetics.<ref>see Bibliography</ref>


From 1987 to 1994, he directed the ''Contemporary Music Ensemble Intervalles'' and performed premières, as a conductor, of works by [[J.Y. Bosseur]], [[Claude Ballif|C. Ballif]], [[M. Mathias]], [[Egberto Gismonti|E. Gismonti]], as well as his own works in international festivals : in Czech Republic, Germany, France, with retransmissions on Radio-France and the Radio-Suisse- Romande. He directed the conservatory of the city of Sevran from 1985 to 1996, where he invited [[Claude Ballif]] to take a composition class in 1990 as well as [[Marcel Bitsch]], for teaching a theory course open to composers.
From 1987 to 1994, he directed the ''Contemporary Music Ensemble Intervalles'' and performed premières, as a conductor, of works by [[Jean-Yves Bosseur]], [[Claude Ballif]], [[M. Mathias]], [[Egberto Gismonti]], as well as his own works in international festivals : in Czech Republic, Germany, France, with retransmissions on Radio-France and the Radio-Suisse-Romande. He directed the conservatory of the city of Sevran from 1985 to 1996, where he invited Claude Ballif to take a composition class in 1990 as well as [[Marcel Bitsch]], for teaching a theory course open to composers.


Kremer is president of several musical organizations : including ''Musiques à vivario'' from 2002 to 2005 for the promotion of classical music in Corsica as well as the Association of the ''Vocal ensemble les Oréades'', creating a repertory of baroque and contemporary music.
Kremer is president of several musical organizations : including ''Musiques à vivario'' from 2002 to 2005 for the promotion of classical music in Corsica as well as the Association of the ''Vocal ensemble les Oréades'', creating a repertory of baroque and contemporary music.


Joseph-François Kremer was Professor of Philosophy of Music and Aesthetics at the Schola Cantorum in Paris ; he is regularly invited in France and in other countries as a guest professor (towns of Caracas, Baku, Imatra). He currently works with the ''Fesnojiv Foundation'' of Venezuela, after having published a book on the musical and social educational system (2003). He is co-author with [[F. B. Mâche]] of the Chart of the compositional and musicological teaching at the University of Caracas, where he teaches as Professor of Aesthetic since 2001.
Joseph-François Kremer was Professor of Philosophy of Music and Aesthetics at the Schola Cantorum in Paris ; he is regularly invited in France and in other countries as a guest professor (towns of Caracas, Baku, Imatra). He currently works with the ''Fesnojiv Foundation'' of Venezuela, after having published a book on the musical and social educational system (2003). He is co-author with [[François-Bernard Mâche]] of the Chart of the compositional and musicological teaching at the University of Caracas, where he has been teaching as Professor of Aesthetic since 2001.


He has contributed to the publication of more than thirty musicological works as acting as director of several collections for the parisian publishers Méridiens- Klincksieck, Kimé and L'Harmattan.
He has contributed to the publication of more than thirty musicological works and has been the director of several collections for the parisian publishers Méridiens- Klincksieck, Kimé and L'Harmattan.


==Selected works==
==Selected works==
''Le chant de la nuit 5 pièces pour violoncelle seul (1983)''
*''Le chant de la nuit 5 pièces pour violoncelle seul''
*''Symphonie à 4 pour flûte, clarinette, violoncelle et piano''
*''Symphonie à 4 pour flûte, clarinette, violoncelle et piano''
*''Poussière d'oubli pour clarinette, violon, alto et violoncelle''
*''Poussière d'oubli pour clarinette, violon, alto et violoncelle''
Line 31: Line 33:
*''Naturalia pour grand ensemble de cuivres ''
*''Naturalia pour grand ensemble de cuivres ''
*''Dixtuor pour flûtes traversières''
*''Dixtuor pour flûtes traversières''
*''Petite messe des morts"pour une âme retrouvée"
*''Petite messe des morts "pour une âme retrouvée"''
*''Dio vi salvi regina, hymnus pour 5 voix solistes''
*''Dio vi salvi regina, hymnus pour 5 voix solistes''
*''Saxophonie pour saxophone seul''
*''Saxophonie pour saxophone seul''
Line 46: Line 48:
*''Concerto pour flûte et orchestre à cordes'' (2008)
*''Concerto pour flûte et orchestre à cordes'' (2008)


==Bibliography==
== Bibliography ==
* ''Les formes symboliques de la musique'', Paris, Méridiens Klincksieck, Collection de Musicologie, 1984.
* ''Les formes symboliques de la musique'', Paris, Méridiens Klincksieck, Collection de Musicologie, 1984.
*''Réédition et analyse du ''Traité d’Harmonie'' (1722) de J. P. [[Jean-Philippe Rameau|Rameau]], précédé d’une Introduction «&nbsp;Rameau, l’harmonie et les méprises de la tradition&nbsp;», Paris, Méridiens Klincksieck, Collection de Musicologie, 1986 ; 2nd edition 1992.
*''Réédition et analyse du Traité d’Harmonie'' (1722) by J. P. [[Jean-Philippe Rameau|Rameau]], précédé d’une Introduction «&nbsp;Rameau, l’harmonie et les méprises de la tradition&nbsp;», Paris, Méridiens Klincksieck, Collection de Musicologie, 1986 ; 2nd edition 1992.
* ''Les grandes topiques musicales'', Paris, Méridiens Klincksieck, Collection de Musicologie, 1994.
* ''Les grandes topiques musicales'', Paris, Méridiens Klincksieck, Collection de Musicologie, 1994.
* ''L’Offrande musicale de Jean-Sébastien Bach'', Introduction et analyse musicale de Marcel Bitsch, Paris, Éditions Kimé, Collection « Musica », 1994.
* ''L’Offrande musicale de Jean-Sébastien Bach'', Introduction et analyse musicale de Marcel Bitsch, Paris, Éditions Kimé, Collection « Musica », 1994.
* ''{{lang|fr|Les Préludes pour piano de Claude Debussy en correspondance avec À la recherche du temps perdu de Marcel Proust'', Introduction et analyse musicale de Marcel Bitsch, Paris, Éditions Kimé, Collection Musica, 1996.}}
* {{lang|fr|''Les Préludes pour piano de Claude Debussy en correspondance avec À la recherche du temps perdu de Marcel Proust, Introduction et analyse musicale de Marcel Bitsch, Paris, Éditions Kimé, Collection Musica'', 1996.|italic=unset}}
* Réédition et introduction du ''Nouveau système de musique théorique''(1726)de Jean-Philippe Rameau, Paris, Éditions Aug. Zurfluh, 1996.
* Réédition et introduction du ''Nouveau système de musique théorique'' (1726) de Jean-Philippe Rameau, Paris, Éditions Aug. Zurfluh, 1996.
* ''Esthétique musicale. La recherche des dieux enfuis'', Paris, L’Harmattan, 2000.
* ''Esthétique musicale. La recherche des dieux enfuis'', Paris, [[L’Harmattan]], 2000.
* «&nbsp;Le rôle de la méthode dans l’analogie&nbsp;», in ''Méthodes nouvelles. Musiques nouvelles. Musicologie et création'', sous le direction de Marta Grabocz, Strasbourg, Presses Universitaires de Strasbourg, 2000, 171-198.
* «&nbsp;Le rôle de la méthode dans l’analogie&nbsp;», in ''Méthodes nouvelles. Musiques nouvelles. Musicologie et création'', under the direction of Marta Grabocz, Strasbourg, Presses Universitaires de Strasbourg, 2000, 171-198.
* «&nbsp;Entre découverte et reconnaissance. Pour une compréhension valide du signe&nbsp;», in ''Approches herméneutiques de la musique'', sous la direction de Jacques Viret, Strasbourg, Presses Universitaires de Strasbourg, 2001, 123-138.
* «&nbsp;Entre découverte et reconnaissance. Pour une compréhension valide du signe&nbsp;», in ''Approches herméneutiques de la musique'', under the direction of [[Jacques Viret]], Strasbourg, Presses Universitaires de Strasbourg, 2001, 123-138.
* ''Une expérience musicale et sociale au Venezuela. Vue de l’Ancien Monde'', Paris, L’Harmattan, 2003.
* ''Une expérience musicale et sociale au Venezuela. Vue de l’Ancien Monde'', Paris, L’Harmattan, 2003.
* ''Les formes symboliques de la musique'', Paris, L'Harmattan, 2006.
* ''Les formes symboliques de la musique'', Paris, L'Harmattan, 2006.


==References==
== References ==
{{reflist}}
{{reflist|refs=http://www.classicalmusicnow.com/}}http://www.classicalmusicnow.com/

http://data.bnf.fr/12013410/joseph-francois_kremer-marietti/

https://www.amazon.fr/Joseph-Fran%C3%A7ois-Kremer/e/B001JOXMO2

https://www.youtube.com/watch?v=tT_A0dO-uv4

http://www.idref.fr/028262093

http://www.di-arezzo.fr/partitions-de-Joseph+Fran%C3%A7ois+Kremer.html


{{Authority control}}
{{Authority control}}
Line 77: Line 69:
[[Category:1954 births]]
[[Category:1954 births]]
[[Category:Living people]]
[[Category:Living people]]
[[Category:People from Lyon]]
[[Category:Musicians from Lyon]]
⚫
[[Category:French composers]]
[[Category:French male composers]]
[[Category:French male composers]]
[[Category:French conductors (music)]]
[[Category:French male conductors (music)]]
[[Category:French musicologists]]
[[Category:20th-century French musicologists]]
⚫
[[Category:21st-century French musicologists]]
[[Category:21st-century French conductors (music)]]
[[Category:21st-century French male musicians]]

Latest revision as of 18:55, 12 December 2021

Joseph-François Kremer, October 2016

Joseph-François Kremer (born 22 June 1954) is a French composer, conductor, cellist and musicologist.[1]

Biography

[edit]

Joseph-François Kremer was born in Lyon (France) in 1954. Currently director of the Conservatoire Darius Milhaud of the City of Antony (Île-de-France). He is associated with an original movement in Postmodernism, cited in the ‘‘Larousse de la musique’’.[2] He is interested in the sound qualities of contemporary music as well as the human role in the context of musical interpretation. As a cellist, he studied with Robert Cordier, Maurice Gendron and Claude Burgos. He studied orchestral conducting with J.C. Hartmann. As a composer, he was principally the disciple of Claude Ballif.

He has written several books which deal with musical phenomenology, especially on the symbolic forms of music (1984), on the great musical topics (1994), on musical aesthetics (2000), as well as on musical theory, among them the first French reissue of Rameau’s Traité d'harmonie of 1722, a project supported by the Fondation Singer-Polignac in 1986, and in 1996 Rameau's Nouveau système de musique théorique of 1726. He has also written several works of comparative aesthetics.[3]

From 1987 to 1994, he directed the Contemporary Music Ensemble Intervalles and performed premières, as a conductor, of works by Jean-Yves Bosseur, Claude Ballif, M. Mathias, Egberto Gismonti, as well as his own works in international festivals : in Czech Republic, Germany, France, with retransmissions on Radio-France and the Radio-Suisse-Romande. He directed the conservatory of the city of Sevran from 1985 to 1996, where he invited Claude Ballif to take a composition class in 1990 as well as Marcel Bitsch, for teaching a theory course open to composers.

Kremer is president of several musical organizations : including Musiques à vivario from 2002 to 2005 for the promotion of classical music in Corsica as well as the Association of the Vocal ensemble les Oréades, creating a repertory of baroque and contemporary music.

Joseph-François Kremer was Professor of Philosophy of Music and Aesthetics at the Schola Cantorum in Paris ; he is regularly invited in France and in other countries as a guest professor (towns of Caracas, Baku, Imatra). He currently works with the Fesnojiv Foundation of Venezuela, after having published a book on the musical and social educational system (2003). He is co-author with François-Bernard Mâche of the Chart of the compositional and musicological teaching at the University of Caracas, where he has been teaching as Professor of Aesthetic since 2001.

He has contributed to the publication of more than thirty musicological works and has been the director of several collections for the parisian publishers Méridiens- Klincksieck, Kimé and L'Harmattan.

Selected works

[edit]
  • Le chant de la nuit 5 pièces pour violoncelle seul
  • Symphonie à 4 pour flûte, clarinette, violoncelle et piano
  • Poussière d'oubli pour clarinette, violon, alto et violoncelle
  • Klaviersätze n°1,2,3,4,5,6,7...
  • Konzertstück pour violon et orchestre à cordes
  • Aria I pour soprano, flûte, violoncelle et piano
  • Aria II pour soprano, violoncelle et piano
  • Aria III pour soprano et piano
  • Symphonie de chambre pour solistes instrumentaux et soprano
  • Symphonie No. 3
  • Suite lyrique pour grand orchestre
  • Anamorphose pour orchestre (1976)
  • Anamorphoses II pour orchestre (1978)
  • Naturalia pour grand ensemble de cuivres
  • Dixtuor pour flûtes traversières
  • Petite messe des morts "pour une âme retrouvée"
  • Dio vi salvi regina, hymnus pour 5 voix solistes
  • Saxophonie pour saxophone seul
  • Petite pièce pour harpe
  • Saxazeriphonie pour saxophone seul
  • Contre chocs pour deux accordéons
  • Permitted games pour quatuor de guitares
  • Petite marche pour sextuor de cuivres
  • Adagio pour un film muet pour accordéon et piano (1975)
  • Symphonie No. 4 (2005)
  • Dialogue pour double quintette à vents (1977)
  • Summer Song 1 pour quatuor vocal et trio à vents (1994)
  • Summer Song 2 pour 3 sopranos, flûte en sol, perc. et cordes (1995)
  • Concerto pour flûte et orchestre à cordes (2008)

Bibliography

[edit]
  • Les formes symboliques de la musique, Paris, Méridiens Klincksieck, Collection de Musicologie, 1984.
  • Réédition et analyse du Traité d’Harmonie (1722) by J. P. Rameau, précédé d’une Introduction « Rameau, l’harmonie et les méprises de la tradition », Paris, Méridiens Klincksieck, Collection de Musicologie, 1986 ; 2nd edition 1992.
  • Les grandes topiques musicales, Paris, Méridiens Klincksieck, Collection de Musicologie, 1994.
  • L’Offrande musicale de Jean-Sébastien Bach, Introduction et analyse musicale de Marcel Bitsch, Paris, Éditions Kimé, Collection « Musica », 1994.
  • Les Préludes pour piano de Claude Debussy en correspondance avec À la recherche du temps perdu de Marcel Proust, Introduction et analyse musicale de Marcel Bitsch, Paris, Éditions Kimé, Collection Musica, 1996.
  • Réédition et introduction du Nouveau système de musique théorique (1726) de Jean-Philippe Rameau, Paris, Éditions Aug. Zurfluh, 1996.
  • Esthétique musicale. La recherche des dieux enfuis, Paris, L’Harmattan, 2000.
  • « Le rôle de la méthode dans l’analogie », in Méthodes nouvelles. Musiques nouvelles. Musicologie et création, under the direction of Marta Grabocz, Strasbourg, Presses Universitaires de Strasbourg, 2000, 171-198.
  • « Entre découverte et reconnaissance. Pour une compréhension valide du signe », in Approches herméneutiques de la musique, under the direction of Jacques Viret, Strasbourg, Presses Universitaires de Strasbourg, 2001, 123-138.
  • Une expérience musicale et sociale au Venezuela. Vue de l’Ancien Monde, Paris, L’Harmattan, 2003.
  • Les formes symboliques de la musique, Paris, L'Harmattan, 2006.

References

[edit]
  1. ^ Classical Music Now Archived 2009-10-17 at the Wayback Machine
  2. ^ see Histoire de la musique published by Larousse, 2000, p. 1137
  3. ^ see Bibliography
Retrieved from "https://en.wikipedia.org/w/index.php?title=Joseph-François_Kremer&oldid=1059968728"