Edith CANAT DE CHIZY

After pursuing graduate studies in Art and Archaeology and Philosophy at the Sorbonne, Edith Canat de Chizy successively obtained six premiers prix at the Paris Conservatoire including one in composition. She became initiated into electro-acoustic music with Guy Reibel at the Conservatoire and the Groupe de Recherches Musicales (GRM). A student of Ivo Malec's, in 1983 she had a decisive encounter with Maurice Ohana to whom she, with François Porcile, would devote a monograph in 2005 (Ed. Fayard).
The catalogue of this trained violinist, presently boasting more than 100 opus numbers, concertante music occupies a special place: Moïra, cello concerto, noticed in 1999 by the Fondation Prince Pierre de Monaco; the following year, Exultet, violin concerto premiered in 1995 by Laurent Korcia, was nominated for the Victoires de la Musique awards; Les Rayons du Jour, viola concerto, was first performed in February 2005 by Ana Bela Chaves and the Orchestre de Paris conducted by Christoph Eschenbach, and lastly Missing, his second violin concerto, created by the Orchestre National de France on March 23, 2017.
Amongst other notable works, most of them written to commissions by the State, Radio-France, the Orchestre de Paris, IRCAM, and ensembles (Musicatreize, Solistes XXI, Nederlands Kamerkoor, Sequenza 9.3, Accentus, TM+ ...), one will note in particular her vocal pieces including Canciones for twelve mixed voices (1992), the scenic oratorio Le Tombeau by Gilles de Rais (1993) - SACD young talented music prize in 1998 - the performance of Blanca Li Corazon loco Théâtre National de Chaillot in January 2007, his four string quartets: Vivere (2000), Alive (2003), Near Invisible (2010), In Black and Gold (2017), her orchestral pieces including Omen, created in October 2006 by the Orchester National de France, Pierre d'éclair, created in March 2011 by the Orchestre National de Lyon, as well as her works with electronics, Over the sea, premiered on May 11, 2012 at the Festival Manifeste of IRCAM and Visio ( 2016) at the Présences Festival.
She has been She has been several times in residence, notably at the Arsenal of Metz, with the Orchester National de Lyon and at the Besançon Festival where Times, for large orchestra, was the compulsory work for the finale of the International Competition for Young Conductors in 2009 and first performed by the BBC Symphony Orchestra.
Numerous distinctions have crowned her works: Prize of the International Composers Tribune (for Yell, 1990), Paul-Louis Weiller Prize of the Académie des Beaux-Arts (1992), Coup de cœur of the Académie Charles Cros for her CD Moving, and several prizes awarded by SACEM, including the Grand Prize for Symphonic Music in 2004. Elected at the Academy of Fine Arts in 2005, president in 2016, Edith Canat de Chizy is the first woman composer member of the Institut de France. After having directed the Conservatoire du 15è art in Paris and that of the 7th art she taught composition at the CRR in Paris until 2017. Edith Canat de Chizy is Chevalier de la Légion d’Honneur, Officier de l’Ordre du Mérite and Commandeur des Arts et lettres.
In 2016, she was awarded the Grand Prize of the President of the Republic by the Académie Charles Cros.
 

TITLE_OEUVRES

" Times "

for orchestra

Editions Lemoine

(Lyon, 1950)
While pursuing studies of Art and Archaeology and Philosophy at the Sorbonne, Edith Canat Chizy successively obtained six top prizes from the Conservatoire National Superieur de Musique de Paris. She learns electro acoustic with -Guy Reibel at the consrevatory and at Groupe de Recherches Musicales. Student of Ivo Malec, in 1983 she has a decisive encounter with Maurice Ohana, to whom she will consecrate with Francis Porcile a monograph in 2005 by Editions Fayard.


In the work of this trained violinist, concert music occupies a special place: Moira, cello concerto, awarded in 1999 by the Prince Pierre of Monaco Competion and the following year, Exultet, violin concerto created in 1995 by Laurent Korcia, was nominated at the Victoires de la Musique, Les Rayons du Jour, viola concerto, which was created in February 2005 by Ana Bela Chaves and the Orchestre de Paris conducted by Christoph Eschenbach.


Among her notable works, mostly state-sponsored, Radio France, Orchestre de Paris, ensembles such as Musicatreize, Nederlands Kamerkoor, Sequenza 9.3, Accentus, TM + etc. ... it should be noted: Canciones for twelve mixed voices (1992), the scenic oratorio Le Tombeau de Gilles de Rais (1993) - Young Talent Award of the SACD music in 1998 - her two quartets Vivere (2000), Alive ( 2003), her latest piece for large orchestra Omen, created in October 2006 by the Orchestre National de France, and the music for the show of Blanca Li Corazon loco put on at the Theatre National de Chaillot in January 2007.


Many distinctions came to crown her work: Prix de la Tribune Internationale Compositeurs (for Yell, 1990), Prix Paul-Louis Weiller of the Academy of Fine Arts (1992), several awards from SACEM including the Grand Prix of Music Symphony in 2004. Named Chevalier des Arts et Lettres in 1994, the National Order of Merit in 2003, elected to the Academy of Fine Arts in 2005, Edith Canat Chizy is the first female composer to be received at the Institut de France.


She has been teaching composition at the CNR in Paris since 2007. In January 2008, Edith Canat of Chizy was named Chevalier of the Legion of Honor.

NOTICE


Besançon, "la Ville du temps", inspired the title of this piece for large orchestra, commissioned by the Festival of Besançon for the final International Competition for Young Conductors. From an obessive ostinato rhythm marking the beginning of the work, up untill the suspended time at the end, the score explores the various dimensions of time, using complex rhythmic overlays brought to the climax, breaks, suspensions, silences, etc ... The sometimes unbearable and relentless scansion of time, the size of the "hors-temps" thus creates an animated texture of miscellaneous current and changing dynamics, punctuated by sudden impacts. This reflection on time and relativity reveals its roots in my own universe where this questioning is continuously present.
Edith Canat of Chizy

" Missing "

For orchestra

Salabert Universal

This concerto is a tribute to Devy Erlih, a fervent actor of contemporary creation, suddenly and brutally disappeared on February 7, 2012 in a traffic accident, hence the title I gave to this work, and this aiku in the highlight of the score: "Particle in the winter sun, I would like to leave. " (Sôma Senshi) ...
Violinist myself, I sought in the treatment of this instrument to expand its register by the use of harmonics, tremolos on free heights, the un-leaning game, flautando, the bariolages, these modes of play generating a a multitude of unmatched spectra, and a whole world of timbres relayed, accompanied, and amplified by the orchestral writing.
I have sought, through the organization of the registers, and particularly those of the extreme acute and the extreme grave, to dilate the sound space in which the violin can resonate with the orchestra, notably by a play echoes appearing at various times in the score. The image of the Winter Sun here has strongly permeated my world.
Far from the classical tradition of the form of the concerto, soloist and orchestra are intimately involved here.
Edith Canat de Chizy