Inocente Carreño Margariteña (Glosa sinfónica) Efrain Oscher Concerto for double bass Mystery Work Leonard Bernstein West Side Story, symphonic dances Double BassEdicson Ruiz Director: JEAN-FRANÇOIS VERDIER SYMPHONICS ABOUT US For more than forty years, El Sistema has been training young people in music in Venezuela. These children and teenagers from the most disadvantaged backgrounds learn music but also to live together. Some are even entering the international scene, such as the prodigious double bass player Edicson Ruiz. Mid-1950s, Manhattan: rival Jets and Sharks gangs fight daily for control of their territory. If West Side Story replays Romeo and Juliet's drama, the work addresses a crucial question: what perspectives can a society give or refuse to give to its youth? Here is the challenge taken up a few decades later by the El Sistema programme, which trained thousands of young Venezuelans from disadvantaged backgrounds in music. This is the case of 21-year-old bassist Edicson Ruiz, the youngest artist recruited to date by the phalanx that makes any musician dream, the Berlin Philharmonic Orchestra. Duration: 1h40 with intermission

The association Scène 2, associated with the XXI.n ensemble, presents "Mary", a three-act chamber opera by Clara Olivares, inspired by the life and work of Mary Shelley (1797-1851), writer and author of the famous "Frankenstein".

Composed for 4 instruments, this chamber opera brings together a soprano, Annabelle Bayet who plays Mary Shelley and 5 puppets (Percy Shlelley, the husband, Victor Frankenstein La Créature, Mathilda and Lionel Verney) to whom the singer also lends her voice but transformed electronically in real time: Szuhwa Wu (violin), Pierre Fourcade (cello), Yannick Herpin (clarinet), Claude Georgel (saxophone).

Through this intimate show, which uses new musical technologies and puppets, Clara Olivares pays a strong tribute to Mary Shelley, a woman of science, literature and science. "While studying "Frankenstein" or "Le Prométhée moderne" written between 1816 and 1817, I was fascinated by the author's youth, by his interest in horror, by the scientific discoveries of his time around life, death and electricity and by the ethical questions they raised and still raise today," explains the composer. It is therefore at the heart of Mary's strange and so contemporary universe that this intimate chamber opera, conceived as a biopic, invites you to enter...

PROGRAM & DISTRIBUTION

David Lampel Mandala symphony

Dmitri Chostakovitch: Chamber Symphony, Op. 110

Lili Boulanger: For the funeral of a soldier for orchestra, choir and baritone

Gabriel Fauré: Requiem in D minor, Op.48

Program in Lons-le-Saunier:

Dmitri Shostakovich Chamber Symphony, Op.110

Gabriel Fauré Requiem in D minor, Op.48

Baritone Arnaud Guillou

Ensemble vocalContre z'ut Direction Alain Lyet

Director: JEAN-FRANÇOIS VERDIER

SYMPHONICS

ABOUT US

With the participation of a child from the Maîtrise des Hauts-de-Seine

War, its violence and its traumas, but also music, as the only escape from the barbarism of mankind.

2018, the centenary of the Great War, is an opportunity to look at the repertoire directly inspired by these dramas, such as the premonitory work of Lili Boulanger, composed in 1913. Dedicated to the memory of the victims of fascism, Shostakovich's Chamber Symphony expresses the grotesque and anguish of the Second World War. Peace emerges, in contrast, with Fauré's Requiem, which evokes death as a "happy deliverance, an aspiration to happiness beyond, rather than a painful passage". A true meditation, the Mandala Symphony is deeply imbued with Buddhist thought.

Duration: 1h40 with intermission

30/11/2018 - 8pm

LEDOUX THEATRE - THE 2 SCENES - Scène nationale de Besançon

01/12/2018 - 8:30pm

LONS-LE-SAUNIER THEATRE - The Jura Scenes

"What do I see of this window, if not hats and coats, that can cover spectra or feigned men who only move by springs? But I judge that they are real men, by the sole power of judging who is in my mind, what I thought I saw with my eyes". René Descartes, Metaphysical Meditations Les Automates de Descartes is inspired by the philosopher's thought, which describes his confusion when faced with the movement of figures that he does not know how to describe as human or mechanical. At the frontier of reality and artificiality, in a close encounter with the technological devices that surround them, the four musicians animate a succession of visual, musical and choreographic tableaux in the dark. The Quatuor IMPACT invites you to an experimental and dreamlike journey among the contemporary works that make up this program. Each piece explores a facet of the puppet body, questions the entity of the quartet, the relationship to the score and the writing of the movement. The works respond to each other, creating a memory of gesture, echoes, repetitions, which contribute in various nuances to the disarticulation of the musicians' humanity, which have become the abstract mechanisms of this mechanical ballet.

Thursday, December 6, 2018, from 7pm to midnight, Jacques Kreisler Auditorium, Cité des Arts.

Night of chamber music

The TETRAKTYS ensemble celebrates its 30th anniversary!

To celebrate this event, TETRAKTYS is offering you a concert night in the auditorium of the Cité des arts, which now bears the name of the association's first president, the wonderful and late Jacques Kreisler.

This evening will open at 7pm with a first concert composed of the program of the new CD, "BRITISH and son on", recorded for the label KLARTHE on the occasion of its public release. Concocted with the savoury and witty pieces of Ralph Vaughan Williams, Benjamin Britten and Malcolm Arnold, this recording presents an original and accessible program that reflects TETRAKTYS' artistic approach since its inception.

The evening will continue until midnight (concerts at 7pm, 9pm, 10pm and 11pm) with the great classical and romantic repertoire of chamber music, but also with the music of Eric Tanguy, composer in residence at the International Festival, a partner of TETRAKTYS for many years.

As every year, post-graduate students of the conservatory will be invited to share the stage with fifteen professional musicians of the ensemble. Some surprises also with some of the founding members of TETRAKTYS, who came back to celebrate this special moment.

7pm: "British and so on": ARNOLD / BRITTEN / WILLIAMS

9pm: PUJOL / SCHUMANN

10pm: CAMBINI / MOZART / MARCELLO

11pm: TANGUY / BARBER / LIGETI / ESCAICH / RAVEL / STRAUSS.

Free participation, collection at the hat for the benefit of the association.

Signing session of the new TETRAKTYS CD "British and so on" from 20h15

7pm and 11pm concerts by reservation

Concerts of 21h and 22h in free access within the limit of available places

In partnership with the CRR du Grand Besançon and with the support of the City of Besançon, the Département du Doubs, the company ABEO, and Société Générale

Boswil, Suisse

Old Church

W.A. Mozart: Violin Concerto KV 216 G major

W.A. Mozart: Violin Concerto KV 219 A major

Soloist : Sebastian Drilling

Brugg, Suisse

Town church

W.A. Mozart: Violin Concerto KV 216 G major

W.A. Mozart: Violin Concerto KV 219 A major

Soloist: Sebastian Bohren

Claude Debussy Prelude to the afternoon of a fauna Hector Berlioz Les Nuits d'été, Op.7 Éric Tanguy Concertino for hautbois et treize instrumentistes Maurice Ravel Le Tombeau de Couperin Mezzo Soprano Albane Carrère Hautbois Fabrice Ferez Director: JEAN-FRANÇOIS VERDIER SYMPHONICS ABOUT The Victor Hugo Orchestra celebrates French music, its richness and subtleties. The scheduled works share a discreet lyricism by exploring the union of music and poetry. A little more to enjoy the sweetness of summer with Berlioz's Summer Nights, inspired by Théophile Gautier's poems and sung by mezzo-soprano Albane Carrère. Sensuality will also be at the heart of this evening with the Prélude à l'après-midi d'un faune, whose "desires and dreams Debussy wanted to suggest in the heat of an afternoon". The orchestra will have pleasure in reuniting as a soloist, Fabrice Ferez, in the concertino of Eric Tanguy, composer in residence at the Besançon Franche-Comté International Music Festival. Duration: 1h30 with intermission

Sunday, October 7, 2018, 5:30 pm

Villeron, Grange de Vaulerent

Friday, October 19, 2018, 8pm

Soissons, Cité de la Musique

For the first time in France, Les Siècles replay an original version of Mahler's Symphony No. 1, known as Titan, as well as the symphonic poem Totenfeier from his second symphony, on German instruments from the late 19th century.

MAHLER Symphony No. 1 "Titan"

MAHLER Totenfeier, Symphonic Poem

From his first symphony, Mahler displayed an extraordinary range of sounds. What we may not know is that this Symphony No. 1 has had an incredible history: sketched in 1884 in Cassel, the main part of the first version of the First Symphony (in two parts and five movements) was produced from December 1887 to March 1888. At that time, Mahler, aged 28, was a highly appreciated conductor, assisting Arthur Nikisch at the Leipzig Opera House. The symphony, which according to Mahler must provoke in others "many reasons for astonishment", cannot be played anywhere. This disappointment and a dispute with the director of the Leipzig Opera caused Mahler to resign in the summer of 1888. In September of the same year, he was hired as director of the Royal Hungarian Opera in Budapest. After a considerable success in giving L'Or du Rhin and La Walkyrie, Mahler premiered his symphony there on 20 November 1889 in its original version, completed in Leipzig and presented as a symphonic poem in two parts and five movements.

Together with musicologist Anna Stoll-Knecht, Les Siècles worked on the Budapest 1889, Hamburg 1893 and Weimar 1894 manuscripts in close collaboration with Universal Editions. They will propose a rediscovery of the original symphonic poem "Titan" in 5 movements. This return to the sources on the instruments of the work's creation will allow us to rediscover in a new light this absolute masterpiece of the history of music.

It was in 1888 that Mahler composed his symphonic poem Totenfeier (Funeral Ceremony), based on an epic poem by Adam Mickiewicz. This work represents a funeral - that of the "Titan" of the First Symphony, which is completed here - and expresses the existential question of the resurrection: does life and death have meaning, and is there life after death? This funeral march, this requiem of lost illusions, was difficult to see the light of day, since in 1891, Mahler tried to seduce his illustrious colleague Hans Von Bülow by presenting him with his symphonic poem, which had already been written for nearly four years, but his reception was not what Mahler had hoped for. The score ends up in a drawer. The symphonic poem Totenfeier no longer existed as the first movement of the Resurrection symphony and was revised on April 29, 1894 to be incorporated into it. This movement undoubtedly remains the heart of the symphony to come.

Orchestra Victor Hugo Franche-Comté Management team: JEAN-FRANÇOIS VERDIER Soloist(s):  Piano François Chaplin Wolfgang Amadeus Mozart Piano Concerto n° 23 in A major, K 488 _ Einar Englund Tempus Fugit, extract from the symphony n° 4 « Nostalgique » Arvo Pärt Cantus in memoriam Benjamin Britten, for bell and string orchestra Steve Reich Music for pieces of wood _ Wolfgang Amadeus Mozart Piano Concerto No. 24 in C minor, K 491

Victor Hugo  Franche-Comté Orchestra  Direction:  Kaspar Zehnder Soloist (s):  Violin Guillaume Chilemme Alexander Glazunov  "Summer", from the ballet  Les Saisons Ottorino Respighi  Les Oiseaux , suite for orchestra Frank Bridge  Summer , symphonic poem - Felix Mendelssohn Bartholdy  Concerto  for violin and orchestra in E minor, op. 64

Ensemble Cristofori, Arthur Schoonderwoerd Sergueï Prokofiev (189 1 - 1 9 5 3 ) S o n a t e p o u r f l û t e e t p i a n o e n r é m a j e u r, o p u s 9 4 ( 1 9 4 3 ) A n da n ti n o - A llegro - A n da n te - A llegro c o n b ri o D m i t r i C h o s t a k o v i c h ( 1 9 0 6 - 1 9 7 5 ) S o n a t e p o u r v i o l o n c e l l e e t p i a n o e n r é m i n e u r, o p u s 4 0 ( 1 9 3 4 ) A llegro n o n tropp o - A llegro - L a rgo - A llegro S e r g u e ï P r o k o f i e v V i o l i n S o n a t a e n fa m i n e u r, o p u s 8 0 ( 1 9 4 6 ) A n da n te assa i - A llegro b r u s c o - A n da n te - A llegriss i m o - A n da n te assa i, c o m e p ri m a F L o RE N C E a o U S T E T, fl û t e S z U h wa wU , v i o l i n F RaN ç oISMIChEL, Cello aRThUR SChooN DER woED, piano