Christine Mennesson

(born in1955, resident in France). Although she s tarted late, she was the winner of guitar, counterpoint, harmony and analysis (prizes in conservatory), and composition and Research electroacoustic (prizes, Conservatoire National Supérieur de Musique et de Danse de Paris, 1985). She also studied computer music (David Wessel), musical acoustics (Danielle Castellingo), the analysis of spectral music (Tristan Murail) as well as analysis and serial counterpoint (Max Deutsch and Jeannine Richer).Then she studied composition with Franco Donatoni in Italy, while deepening the knowledge of ancient languages: tabs, counterpoint of the sixteenth century with Olivier Trachier, Gregorian with Anne-Marie Deschamps and languages of the fourteenth and fifteenth centuries with Gérard Geay. In 1991, she was selected in the curriculum of composition at IRCAM. From 1993 to late 1994, Christine Mennesson was in to Asia. The contacts which she established during this visit with some artists and thinkers have marked her artistic research permanently. Winner of "Villa Kujoyama" program, she was a resident at the Villa Kujoyama in 2000 (Kyoto, Japan). Her solo CD Solem obtained the "Coup de Coeur” of the Charles Cros Academy" (2004). Noticed by Ligeti for the relevance of her analysis, she led the contemporary music section of the journal Analyse Musicale from 1999 to late 2003. In addition to conferences for professionals, she writes analyzes for the phonographic edition (Soupirs Editions) and biographies for musical BD (bdmusic Editions). Invited by Antoine Hervé in  the  Cabaret emission of France-Musique, she was able to reveal the acoustic illusions to the public (2008-2009). Professor of Art Education in Musical Culture, she taught analysis, composition and improvisation to professionals also for young musicians. 
Selected works: Dans la nuit comme en plein jour, 2011, for 24 mixed voices and trumpet, Britten Choir commission on the tryptic Revenante-Bouquet-Revenant, editions Symétries (on going), first performance in 2014; Quand l’Éternité prendra le temps par la main, 2012, for flute, alto and harp, the trio Antara commission, first performance in 2014; Et l’homme s’éveillera, for mixed choir a capella, the Les Voix du Prieuré festival commission, first performance the Les Voix du Prieuré festival, le Bourget du Lac, May 28, 2011; Battements de ciel, nuées de sons à tire d’aile, for mezzo-soprano and flutes, the Rencontres Contemporaines commission, first performance Lyon, October 18, 2011; Comme un souffle de joie, for mezzo-soprano and clapping hands, first performance by Véronique Bauer, the Les Voix du Prieuré festival, Bourget du Lac, June 12, 2010; Un Éclat de Lumière, for 12 female voices, flute (C and G), clarinet (in B and bass), horn, violin, viola, cello and double bass, editions Symétries (on going), first performance by the Britten Choir and the Les Temps Modernes ensemble, under the direction of Nicole Corti, Lyon, December 6, 2010; Sun Word, for 12 female voices a capella, editions Symétries (on going), first performance by the Chœur Britten, under the direction of Nicole Corti, Ambronay Festival, September 26, 2008; Sur les Champs Lisses de l’Infini ((from the Opera Gringo), for mezzo-soprano, flute in C, clarinet in B, horn in F, violin, viola and cello, GM7 editions, first performance by par Tricia Hayward and the ensemble 2e2m, Radio-France, March 21, 1998, CD Solem; Une Lumineuse Migration Blanche, for orchestra of flute 30, NLFO (Nederland Fluitorkest) commission, GM7 editions, first performance, the International Festival in Bucarest, May 30, 1998. 

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