Quatuor Apollinaire

Quatuor Apollinaire Guillaume Apollinaire (1880-1918) is the symbol of the ebullient and creative art of a troubled epoch in which experimentation abounded in all forms of art, science, society, and even revolution. An immense poet of deep ramifications, from his domestic roots to his vivacious artistic collaborations (paintings, music, theater), this “seeker of new horizons” greatly inspired the musicians of this ensemble with his many explorations. The quartet attempts, in its own manner, to reveal and revive from the past a repertoire still largely underestimated and deserving of new attention. Founded in 1994, and with at its base, the esteemed saxophone and piano duo Jean-Michel Goury/Yves Josset this ensemble of flute, piano, saxophone, and keyboards/voice primarily dedicates itself to chamber music from the end of the 19th century to the beginning of the 20th century. It also incorporates, however, the commissioning of contemporary works in order to enrich the literature of this unusual instrumental combination. Since 1996, the quartet has performed concerts and masterclasses throughout the U.S., Canada, Italy, Spain and Israel. Their first album was recorded in 2000. Quatuor Apollinaire performances are presented and commentated, making scenographic adaptions (lighting, spacing/placement) to selected works. 
Jean-Michel Goury, saxophone
Sophie Goury, flute
Yves Josset, piano
Marie-Christine Josset, piano/celesta
  • Jul 13 2018

    Quatuor Apollinaire


    Claude Debussy (1862-1918): Chansons de Bilitis from Pierre Louys’ 7 Epigrammes antiques for celesta, flute, alto saxophone and piano (arr. Y. Josset)
    Bilitis et Mnasidika (premier performance)
    -suite of new chansons for flute (transverse, alto-flute and piccolo), piano (and prepared), saxophone (soprano, alto and tenor), celesta and declaimer

    Bucoliques en Pamphylie – excerpts (1st chapter):
    Jean-Luc Hervé (1960): La Pluie (Rain – 9th chanson)
    Mike Kuehn (1967): Le Tombeau des Naïades (Naïades Tomb – 46th chanson)
    Elégies a Mytilene – excerpts (2nd chapter):
    François Rosse (1945): Psapph – 48th chanson)
    André Hamel (1955): Le Tombeau sans nom (Nameless Grave – 59th chanson)
    Pierre Grouvel (1939): La Rivière de la forêt (Forest River – 13th chanson from Bucoliques en Pamphylie, 1st chapter)
    Epigrammes dans l'île de Chypre– excerpts (3rd chapter)
    Mark Engebretson (1964): La Pluie au matin (Morning Rain – 154th chanson)
    Thierry Alla (1955): L’ Eau pure du bassin (Clear Water from Pool – 112th chanson)
    Simone Movio (1978): La Métamorphose (Metamorphosis – 58th chanson from Elégies a Mytilene, 2nd chapter)
    Bernard Carlosema (1949): Premiere épitaphe (First epitaph – 156th chanson from Tombeau de Bilitis (Bilitis’ Grave)
    Rodrigo Lima (1976): Chant pastoral (Pastoral Chant, 2nd chanson from Bucoliques en Pamphylie, 1st chapter)
    Bahaa el Ansary (1991): Les Courtisanes égyptiennes (Egyptian courtesans – 105th chanson from Epigrammes dans l'île de Chypre, 3rd chapter)

    ACADEMY OF MUSIC Blagoje Bersa Hall Trg Republike Hrvatske 12