Musical Director
CONDUCTORS OF THE PHILHARMONIC ORCHESTRA
Messrs. HORNED,
L. SERIOUS,
HAMEL,
MARTHA
PETERS,
Renant,
MAGNIEN (was director of the Cons. Of LILLE),
DUBRAY,
BOUCTARD,
BOUSSAGOL (from the opera),
RIVIERE (military music conductor),
BOISSEAU (from the opera),
MAHU,
ROBERT,
CECILLE, KOCK (from the opera),
F. LEVEQUE (sub director),
THUILLIER, RAY (from the opera),
TOURMENTE (from the opera),
R. CARLIER,
E. PISIER (sub director),
THE SENSES,
ROGER
J.FOURNIER (Professor Conservatoire National dePARIS),
Ch. LOUBERT,
R. LE ROY (professor at the Paris National Conservatory),
G. POULET (director of column concerts),
E. BIGOT (director National Orchestra),
R. BARILLER,
J.ROUSSEL (director Orchestra Ant.Musica),
J. SCHRICKE.
T. PELICANT.
Messrs. HORNED,
L. SERIOUS,
HAMEL,
MARTHA
PETERS,
Renant,
MAGNIEN (was director of the Cons. Of LILLE),
DUBRAY,
BOUCTARD,
BOUSSAGOL (from the opera),
RIVIERE (military music conductor),
BOISSEAU (from the opera),
MAHU,
ROBERT,
CECILLE, KOCK (from the opera),
F. LEVEQUE (sub director),
THUILLIER, RAY (from the opera),
TOURMENTE (from the opera),
R. CARLIER,
E. PISIER (sub director),
THE SENSES,
ROGER
J.FOURNIER (Professor Conservatoire National dePARIS),
Ch. LOUBERT,
R. LE ROY (professor at the Paris National Conservatory),
G. POULET (director of column concerts),
E. BIGOT (director National Orchestra),
R. BARILLER,
J.ROUSSEL (director Orchestra Ant.Musica),
J. SCHRICKE.
T. PELICANT.
Esquisse de Thierry Pélicant
par Anna Filimonova
par Anna Filimonova
Musical director
Thierry Pélicant,
A pipe. Gray tobacco. A Calva from his native Normandy, an Armagnac. Out of age preferably. Humer. Feel. To taste. Foods to cook, to refine, before putting them in the mouth. And the music. The one that imposes itself as a necessity, without one thinking about it, without one choosing it, but which is the only concrete and real thing on which to build a life. The one who fills a spirit and carries it always higher. And the others. The taste of Others. Epicurean? Without a doubt, Thierry Pélicant is. With his quest for constant happiness, almost timeless. For him and for others. With requirement. With empathy. With discipline too. "I want to believe in the possibility of building happiness. Happiness is a discipline. "
And that's how he envisions conducting an orchestra. So also that he composes. For musicians, for the public, and for him, in this quest for happiness to build.
The conductor who "can only lead the people he loves"
The young organist he is is offered by a friend to conduct a small orchestra. He is 18 years old and takes the plunge. "I had to face the facts: I needed to take lessons! He explains with a laugh. What he does. And quickly, he met his master in the person of Jean-Claude Hartemann, music director of the Opéra Comique. “I stayed with him for fifteen years. The direction of the orchestra is not learned, it is done by impregnation and I was lucky to have this master who had such a career to transmit. I owe him all that is good. "
Thierry Pélicant is then "caught" by the music, almost in spite of himself. Without love at first sight, but without being able to escape it. “Music has imposed itself on me. I hadn't considered making it my job, but it became a necessity. The law I studied seemed less concrete and real to me than music. I said to myself: well, I'm going to make music, but as I want, only with people I love. Anyway, I can only lead the people I love. In other words, without a career plan, incomprehensible terms for Thierry Pélicant.
In 1976, he took over the management of the Montivilliers orchestra in Haute-Normandie, which has today become an actor in the cultural life of Haute-Normandie under the name of the André Messager Orchestra.
In 1980, Thierry Pélicant arrived as conductor at the Société Philharmonique de Beauvais. His first rehearsal, he remembers "as if it were yesterday": "I was struck by the human value of this nucleus of ten musicians. They were not playing badly at all and they were able to trust a young guy with no experience! I have infinite gratitude for them, which still touches me today. He is also struck by the energy and activism of the office of this orchestra. “They were fully aware of growing this 200-year-old institution. It gave them crazy energy. Rehearsals never happened at “la bonne franquette”, to have fun. We were there to work and progress. Everyone on time and ready. "
And it still is today. If the rehearsal starts at 10 a.m., the musicians are ready to give the first measure at that specific time. Thierry Pélicant then assumes his responsibility as conductor with a smile. He lets slip a first interpretation, takes the temperature, smells the whole. And comes back to a passage. Use a pictorial metaphor. Put the orchestra at ease. And resume. And continues again. With requirement. Again. And then he slips to another part, because he knows perfectly how far he can go with these musicians he knows so well. The shirt is soaked, the concentration palpable. Nothing exists except music. The man and the orchestra are one.
Thierry Pélicant,
A pipe. Gray tobacco. A Calva from his native Normandy, an Armagnac. Out of age preferably. Humer. Feel. To taste. Foods to cook, to refine, before putting them in the mouth. And the music. The one that imposes itself as a necessity, without one thinking about it, without one choosing it, but which is the only concrete and real thing on which to build a life. The one who fills a spirit and carries it always higher. And the others. The taste of Others. Epicurean? Without a doubt, Thierry Pélicant is. With his quest for constant happiness, almost timeless. For him and for others. With requirement. With empathy. With discipline too. "I want to believe in the possibility of building happiness. Happiness is a discipline. "
And that's how he envisions conducting an orchestra. So also that he composes. For musicians, for the public, and for him, in this quest for happiness to build.
The conductor who "can only lead the people he loves"
The young organist he is is offered by a friend to conduct a small orchestra. He is 18 years old and takes the plunge. "I had to face the facts: I needed to take lessons! He explains with a laugh. What he does. And quickly, he met his master in the person of Jean-Claude Hartemann, music director of the Opéra Comique. “I stayed with him for fifteen years. The direction of the orchestra is not learned, it is done by impregnation and I was lucky to have this master who had such a career to transmit. I owe him all that is good. "
Thierry Pélicant is then "caught" by the music, almost in spite of himself. Without love at first sight, but without being able to escape it. “Music has imposed itself on me. I hadn't considered making it my job, but it became a necessity. The law I studied seemed less concrete and real to me than music. I said to myself: well, I'm going to make music, but as I want, only with people I love. Anyway, I can only lead the people I love. In other words, without a career plan, incomprehensible terms for Thierry Pélicant.
In 1976, he took over the management of the Montivilliers orchestra in Haute-Normandie, which has today become an actor in the cultural life of Haute-Normandie under the name of the André Messager Orchestra.
In 1980, Thierry Pélicant arrived as conductor at the Société Philharmonique de Beauvais. His first rehearsal, he remembers "as if it were yesterday": "I was struck by the human value of this nucleus of ten musicians. They were not playing badly at all and they were able to trust a young guy with no experience! I have infinite gratitude for them, which still touches me today. He is also struck by the energy and activism of the office of this orchestra. “They were fully aware of growing this 200-year-old institution. It gave them crazy energy. Rehearsals never happened at “la bonne franquette”, to have fun. We were there to work and progress. Everyone on time and ready. "
And it still is today. If the rehearsal starts at 10 a.m., the musicians are ready to give the first measure at that specific time. Thierry Pélicant then assumes his responsibility as conductor with a smile. He lets slip a first interpretation, takes the temperature, smells the whole. And comes back to a passage. Use a pictorial metaphor. Put the orchestra at ease. And resume. And continues again. With requirement. Again. And then he slips to another part, because he knows perfectly how far he can go with these musicians he knows so well. The shirt is soaked, the concentration palpable. Nothing exists except music. The man and the orchestra are one.
Thierry Pélicant, composer
He wrote mainly concertantes (concerto for organ, for oboe, for bassoon, for brass, Rhapsodie for violin, concerto for double bass), Symphonies, the third of which, “Sérénade”, was commissioned by the Festival de Nyons.
A food opera, Elise and the ghost and an unfinished opera, Ribouldingue or La Parturition des Pieds Nickelés.
With the poet Luis Porquet, he composed a cycle of melodies for soprano, harp and orchestra, Ombre Légère, and a Christmas oratorio - Et de toi, Bethleem, for baritone, harp, choir and orchestra.
A few chamber music pieces are in his catalog, including a septet, Milonga, commissioned by the Giverny festival in 2012, stage music and, in 2011, with the composer Dominique Preschez, Escales & landscapes, which was created Salle Gaveau with pianist Raphaël Drouin.
For the Oise Orchestra, he composed a Suite for "Le concert" which was created at the General Council of the Oise in 2012. He leads, still with Luis Porquet, the writing of "14", a great fresco commemorating the Great War and which will be premiered with tenor Daniel Gàlvez-Vallejo and the Oise Orchestra in June 2014. Also in 2014, an opera - Histoires comme ça - will be created, on a libretto by Yves Lecordier and Olivier Morance and a suite for cello and strings to accompany films by Georges Méliès.
The composer has "the absolute necessity" to compose
“Composition is a need, an absolute necessity for me. The need to free myself from something. His first "work", composer Thierry Pélicant wrote it while he was still a high school student. "It was a school party mass," he recalls. Then he writes for the weddings of his friends. "But I was a bit restrained, because I believed that the institutional language of contemporary music was not mine. "But one day, Thierry Pélicant clicks:" I write as I want. It does not matter. My writing has a tonal language, the most accessible to the public, not at all contemporary, but I am sincere. Writing by necessity and not by desire, he gets rid of aesthetic fashions and quarrels to retain only the requirement and the sincerity which he perceives as "moral obligations". And like a snub to these quarrels, he launched: "In any case, I am a contemporary composer since I am alive. "
Today, Thierry Pélicant is the author of more than 70 pieces including the Suite performed on December 1 for the 25th anniversary of the Oise Philharmonic Orchestra. “When I write for this orchestra, I see the musicians playing more than I hear them. I write for each of them, each part is for each musician. It is affectionate writing. With one ambition: "To please". “I want people to take happiness. This is my essential role: to give a little happiness to the musicians and the public. Don't bother them. It is very pretentious to take the risk of being bored. And we come back to the philosophy of the Thierry Pélicant man, that of "building happiness with discipline and requirement". This philosophy seems to have brought him luck since he agrees: “I have always had the chance to be supported, surrounded. I have conductor friends who have struggled to lead this career and I, no, everything happens as if it was normal. "
He wrote mainly concertantes (concerto for organ, for oboe, for bassoon, for brass, Rhapsodie for violin, concerto for double bass), Symphonies, the third of which, “Sérénade”, was commissioned by the Festival de Nyons.
A food opera, Elise and the ghost and an unfinished opera, Ribouldingue or La Parturition des Pieds Nickelés.
With the poet Luis Porquet, he composed a cycle of melodies for soprano, harp and orchestra, Ombre Légère, and a Christmas oratorio - Et de toi, Bethleem, for baritone, harp, choir and orchestra.
A few chamber music pieces are in his catalog, including a septet, Milonga, commissioned by the Giverny festival in 2012, stage music and, in 2011, with the composer Dominique Preschez, Escales & landscapes, which was created Salle Gaveau with pianist Raphaël Drouin.
For the Oise Orchestra, he composed a Suite for "Le concert" which was created at the General Council of the Oise in 2012. He leads, still with Luis Porquet, the writing of "14", a great fresco commemorating the Great War and which will be premiered with tenor Daniel Gàlvez-Vallejo and the Oise Orchestra in June 2014. Also in 2014, an opera - Histoires comme ça - will be created, on a libretto by Yves Lecordier and Olivier Morance and a suite for cello and strings to accompany films by Georges Méliès.
The composer has "the absolute necessity" to compose
“Composition is a need, an absolute necessity for me. The need to free myself from something. His first "work", composer Thierry Pélicant wrote it while he was still a high school student. "It was a school party mass," he recalls. Then he writes for the weddings of his friends. "But I was a bit restrained, because I believed that the institutional language of contemporary music was not mine. "But one day, Thierry Pélicant clicks:" I write as I want. It does not matter. My writing has a tonal language, the most accessible to the public, not at all contemporary, but I am sincere. Writing by necessity and not by desire, he gets rid of aesthetic fashions and quarrels to retain only the requirement and the sincerity which he perceives as "moral obligations". And like a snub to these quarrels, he launched: "In any case, I am a contemporary composer since I am alive. "
Today, Thierry Pélicant is the author of more than 70 pieces including the Suite performed on December 1 for the 25th anniversary of the Oise Philharmonic Orchestra. “When I write for this orchestra, I see the musicians playing more than I hear them. I write for each of them, each part is for each musician. It is affectionate writing. With one ambition: "To please". “I want people to take happiness. This is my essential role: to give a little happiness to the musicians and the public. Don't bother them. It is very pretentious to take the risk of being bored. And we come back to the philosophy of the Thierry Pélicant man, that of "building happiness with discipline and requirement". This philosophy seems to have brought him luck since he agrees: “I have always had the chance to be supported, surrounded. I have conductor friends who have struggled to lead this career and I, no, everything happens as if it was normal. "
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