Claire Renard
Play all audio recordingsA pianist by training, Claire Renard joined, after literary and legal studies, Pierre Schaeffer's electroacoustic class at the Paris Conservatory and obtained her diploma in 1973.
From her double classical and electroacoustic training, she kept the taste for rigor and experimentation, constantly questioning the compositional act and its relationship with the audience.
Each creation reflects a specific listening project where voice, space, multidisciplinarity and conditions of perception give rise to various forms such as: operas (Col Canto, 1995, Orimita, 2013), musical shows (Brèves d'été, 1994; La muse en son jardin, 2003), installations (Music of memories/ La musiques des mémoires, 2000; Chambre du temps/ Time Chamber, 2006), etc...
Claire Renard attaches particular importance to the work on the voice (as in La Vallée Close/The Closed Valley, 1986; Un éclat de son rire / A burst of his laughter 1989; On ne cesse pas de mourir de ce dit /We do not stop dying from this said, 1995) and to the mixtures of West-East instrumental idioms, baroque-electronics (Les plis du ciel, for mezzo-soprano, shakuhachi, viola da gamba, lute, harp, accordion and electronic device, 2003; Orimita, lyric
tragedy for singing voice, spoken voice, viola da gamba, cretan lyre, and on tape, kanun and duduk, 2013), or more recently, by associating a rare instrument - the Baschet crystal - with more classical instruments in “... Là où tombe la lumière/ Where the light falls...”, 2017 or
the Chinese erhu on piano and cello, in L’au-delà du sombre,/ Beyond the dark, 2020.
Performed in France (Center Pompidou, Théâtre de la Bastille, Biennale Musiques en Scène / GRAME, Festival Les Musiques / GMEM, Opéra de Reims, Radio-France, Festival Musiques Démesurée, etc ...) and abroad (Festival Ars Musica, Archipel Festival, KVAST Festival, etc
...), his music is the result of collaborations with instrumental ensembles (Ars Nova, Ensemble Orchestral Contemporain, Les Percussions de Strasbourg, etc ...) and artists from different disciplines (video, dance, theater, cinema, visual arts, design).
Researcher in the pedagogy of creation (GRM / INA, IRCAM, Center Pompidou ...), she publishes Le geste musical/The musical gesture (1982) and Le temps de l’espace/ The time of space (1991) and trains adults in this practice in France and abroad.
In addition, she receives orders from the French Ministry of Culture, Radio France, and various organizations. She benefits from creative residencies in France and abroad (Villa Médicis Hors les Murs / Italy, Montalvo Arts Center / USA, etc...).
A monograph - Claire Renard, Le génie du lieu - is devoted to him by the Revue Lisières n °30.
Photo: Bulle Batalla Linhart
From her double classical and electroacoustic training, she kept the taste for rigor and experimentation, constantly questioning the compositional act and its relationship with the audience.
Each creation reflects a specific listening project where voice, space, multidisciplinarity and conditions of perception give rise to various forms such as: operas (Col Canto, 1995, Orimita, 2013), musical shows (Brèves d'été, 1994; La muse en son jardin, 2003), installations (Music of memories/ La musiques des mémoires, 2000; Chambre du temps/ Time Chamber, 2006), etc...
Claire Renard attaches particular importance to the work on the voice (as in La Vallée Close/The Closed Valley, 1986; Un éclat de son rire / A burst of his laughter 1989; On ne cesse pas de mourir de ce dit /We do not stop dying from this said, 1995) and to the mixtures of West-East instrumental idioms, baroque-electronics (Les plis du ciel, for mezzo-soprano, shakuhachi, viola da gamba, lute, harp, accordion and electronic device, 2003; Orimita, lyric
tragedy for singing voice, spoken voice, viola da gamba, cretan lyre, and on tape, kanun and duduk, 2013), or more recently, by associating a rare instrument - the Baschet crystal - with more classical instruments in “... Là où tombe la lumière/ Where the light falls...”, 2017 or
the Chinese erhu on piano and cello, in L’au-delà du sombre,/ Beyond the dark, 2020.
Performed in France (Center Pompidou, Théâtre de la Bastille, Biennale Musiques en Scène / GRAME, Festival Les Musiques / GMEM, Opéra de Reims, Radio-France, Festival Musiques Démesurée, etc ...) and abroad (Festival Ars Musica, Archipel Festival, KVAST Festival, etc
...), his music is the result of collaborations with instrumental ensembles (Ars Nova, Ensemble Orchestral Contemporain, Les Percussions de Strasbourg, etc ...) and artists from different disciplines (video, dance, theater, cinema, visual arts, design).
Researcher in the pedagogy of creation (GRM / INA, IRCAM, Center Pompidou ...), she publishes Le geste musical/The musical gesture (1982) and Le temps de l’espace/ The time of space (1991) and trains adults in this practice in France and abroad.
In addition, she receives orders from the French Ministry of Culture, Radio France, and various organizations. She benefits from creative residencies in France and abroad (Villa Médicis Hors les Murs / Italy, Montalvo Arts Center / USA, etc...).
A monograph - Claire Renard, Le génie du lieu - is devoted to him by the Revue Lisières n °30.
Photo: Bulle Batalla Linhart
Ordered by year. Most recent works appears first
pour Harpe, Luth/ Théorbe et Viole de Gambe
Claire Renard
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Brèves d'Eté pour Harpe, Luth/ Théorbe et Viole de Gambe (1994)