|
Joseph-François KREMER
Joseph-François Kremer was born in 1954. As a Cellist, he studied with, Robert Cordier, Maurice Gendron and Claude Burgos. He studied orchestral conducting with J.C. Hartmann and Pierre Dervaux. As a composer, he studied with Jeannine Charbonnier and was principally the disciple of Claude Ballif. He is the author of a " Suite Lyrique " for Orchestra (1986), three symphonies (1990,1991,2002), an opera, La rencontre au point du jour (1988), the messe pour une âme retrouvée (1995-2000), pedagogical work (1981-2002) many works for piano, solo instruments, trios, quartets, quintet, sextets and dixtet as well as works for voice (1976-2002) as well as theatre music (TEP, FR3 et Théâtres nationaux) His music is principally published by Musik Fabrik. He is associated with an original movment in Post-modernim, citged in the Larousse de la musique (in histoire de la musique publihed by Larousse, 2000, p 1137). His compostional 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 rôle in the context of musical interpretation.
This reflection on the music of the past in the light of the post-modernist aesthetic has lead Joseph-François KREMER to compose works which are at once deeply rooted in the French tradition and resolutely pointed towards the future. His Symphonie de Chambre is a fine example of this, using both aleatoric and extended tonal techniques next to sections which are clearly inspired by Debussy and Berg. Kremer’s works are almost always poetically inspired and use changes of musical climate as an organizing principal, much in the way of the doctrine of affectations during Bach’s time. His works range from works for solo instrument, chamber music as well as orchestral works and operas.
From 1987 to 1994, he directed the Contemporary Music Ensemble " Intervalles " and performed premières, as a conductor, of works by J.Y.Bosseur, C.Ballif, M.Mathias, E.Gismonti, as well a his own works in international festivals (Czech Republic, Germany, France, retransmisions 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 for a composition class in 1990 as well as Marcel Bitsch, for a theory course open to composers. He was programmed in November 2004 for the 7th Festival of New Music for Wind Intruments in London (UK)
Currently director of the conservatoire Darius Milhaud of the City of Antony, he is also president of several musical organizations, including Musiques à Vivario, for the promotion of music in Corsica as well as the association of the Vocal Ensemble Les Oréades who are creating a repertoire of baroque and contemporary music. Docteur habilité of the Universities of Paris I and of Strasbourg II, with a diploma of high studies in Social Sciences, he is professor of philosophy of music and aesthetics at the Schola Cantorum of Paris and is regularly invited in France and in other countries as a guest professor. He is currently works with the Fesnojiv foundation of Venezuela, after having published a book on the musical and social educational system. He is co-author with F. B. Mâche of the chart of compostional and musicological teaching at the University of Caracas, where he teaches as well as at the SEDE ,as professor, director of studies, of aesthetic and of analyis since 2004.
He has contributed to the publication of more than thirty musicological works as well as acting as director of several collections for the publishers Méridiens-Klincksieck, Kimé and L'Harmattan. He has written ten book which deal with Phenomenology, Les Formes symboliques de la musique (Symbolic forms of Music) (1984), Les grandes topiques musicales, (1994), Esthétique musicale (2000) as well as musical theory of which the first French re-edition of the Traité d'Harmonie, 1722 of J.P. Rameau a project supported by the Fondation Singer-Polignac, ein1986, which he republished in 1996, and that of the Nouveau Système de musique Théorique de 1726,. To this can be mentioned several works of comparative aestethectics, including l'Offrande Musicale of J.S. Bach, then a study of Proust and Debussy en 1996, and Une expérience musicale et sociale au Venezuela (A Musical and Social Experiment in Venezuela), 2003.
|
|||||||||
