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François Narboni |
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François Narboni was born in 1963. He started out as a jazzman before studying composition with Y. Desportes. He later entered the CNSM in Paris and studied with B. Jolas, P. Méfano and M. Levinas, graduating in composition in 1993.
He granted the scholarships of Casa Velázquez in Madrid and Villa Médicis hors-les-murs in New York and was awarded internaional prizes. In 2000 his opera Ko-Ko was awarded the Prix de l'Académie des Beaux-Arts.
His music is performed in Europe by Trio Italiano Contemporaneo, 2e2m, l'Itinéraire, Court-circuit, l'ensemble Intercontemporain, l'ensemble Fa, Soli-Tutti/Futurs-Musiques, le Devlet Senfoni Orkestrasi, l'orchestre Colonne, l'Orchestre National de Lille, l'Orchestre National de Lyon.
Two of his pieces (Paradis for organ and Les guêpes for orchestra) were awarded prizes in international competitions.
Commissions by: Radio-France, Ancona Festival (Italy), the french state, Université Paris VIII, IRCAM, Musique Nouvelle en Liberté.
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I made François Narboni's acquaintance in 1993 during a contemporary music radio broadcast on France-Musique: I had invited him to promote one of his concerts. I had been impressed at the time by the inventiveness and the orchestration of his piece Les guêpes.
A year later, at Royaumont, he was attending Brian Ferneyhough 's and James Dillon's Voix Nouvelles composition master-classes. During the three-week-course, I had ample opportunity to appreciate his qualities as a musician, especially when composing and rehearsing his piece Impromptu d'Ohio for soprano and contrabass, with Françoise Kubler and Jean-Pierre Robert.
An homage to American minimalist music, his piece was quite original and played very cleverly on the presence on stage of the two performing artists, but above all, it had a really personal tone, free from all straight-line influences that usually obstruct a young composer's output.
That great feeling for instrumentation, already audible in Les guêpes, was now united with a certain humorous distance and a theatrical conception of sound: timbres and instrumental gestures thus becoming the support of a quasi-narrative.
François Narboni was back in residence at Royaumont in 1995, in order to complete Les Animals for the ensemble Itinéraire. This piece - a zoo fantasy after the Carnaval of the Animals in which the orchestra imitates animal cries - offers the same dramatic mixture of sound, irony, orchestral virtuosity, and most of all of a perfectly carried out original narrative tone.
Marc Texier, March 1997
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Les Animals
monographic CD of
François
NARBONI
[3D Classics
3D8035 ref.]
Le Monde de la
musique - ****
La musique de François Narboni joue d'abord sur les timbres,
mais aussi sur le temps. Elle est volontaire, rigoureuse,
s'échappe des normes reconnues et manifeste une belle
indépendance.[...]
Jean Roy
Le Monde la musique (july-august 2006)
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Paradis, for organ, second prize at the International Organ
Composition Competition in St-Rémy-de-Provence 1993
(Editions
Lemoine)
Ti ta te
tin tay,
double wind quintet for five musicians
Les
trompettes du désert, for six trompets and six trombones
spread out in space
Tonalität, double female voice quartet and
continuo
Dikê (Part 1 of the To On cycle on Parmenid's Poem), 4
bass voices and ensemble
Etudes aux
grillons et aux cloches et Tenebræ, electroacoustic music.
