Uploaded August 2010 | Updated September 2026, 1 day ago
Claude Ballif - Compositeur français né le 22 mai 1924 à Paris, mort le 24 juillet 2004 à Poissons, Haute-Marne. Claude Ballif a étudié au Conservatoire de Paris dans les classes de Noël Gallon, Tony Aubin et Olivier Messiaen. Puis à Berlin en 1954 auprès de Boris Blacher et Josef Rufer. Enfin à Darmstadt avec Luigi Nono, Bruno Maderna, Luciano Berio et Karlheinz Stockhausen. Il obtient en 1955 le Premier prix de composition musicale au concours international de Genève pour son oeuvre orchestrale Lovecraft et son premier Quatuor à cordes. En 1956 il publie dans la Revue Musicale son traité : Introduction à la métatonalité.
De retour en France en 1959, il entre comme assistant au GRM où il restera jusqu'en 1963. Rencontrant Iannis Xenakis, François Bayle et Ivo Malec, Claude Ballif écrit deux pièces pour bande : Etudes au ressort (1961) et Points, Mouvements (1962). Mais l'essentiel de sa production demeure instrumentale, avec notamment la création en 1965, au Théâtre des Champs-Elysées, d'A Cor et à Cri pour orchestre sous la direction d' Hermann Scherchen .
Claude Ballif participe à la création de l'Université de Paris VIII en 1968 et publie la même année un ouvrage sur Berlioz, il reçoit de nombreux prix et enseigne l'analyse et la composition au Conservatoire de Paris de 1971 à 1990. Depuis, il enseigne ces mêmes matières au Conservatoire de Sevran. En 1984 le Festival Estival de Paris le choisit comme compositeur de l'été et organise toute une série de concerts et de manifestations autour de son oeuvre.
Il est Chevalier des arts et lettres en 1984; en 1986 il reçoit le Grand Prix SACEM de la Musique Symphonique; en 1991 il est Officier dans l'Ordre national du mérite, puis Commandeur en 1994. Il obtient le Grand Prix national de la Musique en 1999.
Il a publié de nombreux ouvrages sur la musique: Introduction à la Métatonalité, Richard Masse, Paris 1956; Berlioz, Seuil, Paris 1968; Voyage de mon oreille, «10/18», Union Générale d'Édition, 1979; Économie Musicale, Méridiens-Klincksiec, Paris 1988; L'habitant du Labyrinthe : Entretiens avec Alain Galliari, Pro Musica 1992. Un numéro spécial de la Revue Musicale lui a été consacré en 1968.
Claude Ballif s'est toujours situé en marge des écoles et des systèmes, auteur d'une oeuvre abondante, il a peu varié dans son esthétique depuis ses débuts de compositeur, fidèle à une écriture atonale (mais non sérielle), usant de micro-intervalles, où l'émotion affleure constamment. Compositeur catholique, Claude Ballif a signé plus d'une pièce d'inspiration sacrée.
Claude Ballif - Compositeur français né le 22 mai 1924 à Paris, mort le 24 juillet 2004 à Poissons, Haute-Marne. Claude Ballif a étudié au Conservatoire de Paris dans les classes de Noël Gallon, Tony Aubin et Olivier Messiaen. Puis à Berlin en 1954 auprès de Boris Blacher et Josef Rufer. Enfin à Darmstadt avec Luigi Nono, Bruno Maderna, Luciano Berio et Karlheinz Stockhausen. Il obtient en 1955 le Premier prix de composition musicale au concours international de Genève pour son oeuvre orchestrale Lovecraft et son premier Quatuor à cordes. En 1956 il publie dans la Revue Musicale son traité : Introduction à la métatonalité.
De retour en France en 1959, il entre comme assistant au GRM où il restera jusqu'en 1963. Rencontrant Iannis Xenakis, François Bayle et Ivo Malec, Claude Ballif écrit deux pièces pour bande : Etudes au ressort (1961) et Points, Mouvements (1962). Mais l'essentiel de sa production demeure instrumentale, avec notamment la création en 1965, au Théâtre des Champs-Elysées, d'A Cor et à Cri pour orchestre sous la direction d' Hermann Scherchen .
Claude Ballif participe à la création de l'Université de Paris VIII en 1968 et publie la même année un ouvrage sur Berlioz, il reçoit de nombreux prix et enseigne l'analyse et la composition au Conservatoire de Paris de 1971 à 1990. Depuis, il enseigne ces mêmes matières au Conservatoire de Sevran. En 1984 le Festival Estival de Paris le choisit comme compositeur de l'été et organise toute une série de concerts et de manifestations autour de son oeuvre.
Il est Chevalier des arts et lettres en 1984; en 1986 il reçoit le Grand Prix SACEM de la Musique Symphonique; en 1991 il est Officier dans l'Ordre national du mérite, puis Commandeur en 1994. Il obtient le Grand Prix national de la Musique en 1999.
Il a publié de nombreux ouvrages sur la musique: Introduction à la Métatonalité, Richard Masse, Paris 1956; Berlioz, Seuil, Paris 1968; Voyage de mon oreille, «10/18», Union Générale d'Édition, 1979; Économie Musicale, Méridiens-Klincksiec, Paris 1988; L'habitant du Labyrinthe : Entretiens avec Alain Galliari, Pro Musica 1992. Un numéro spécial de la Revue Musicale lui a été consacré en 1968.
Claude Ballif s'est toujours situé en marge des écoles et des systèmes, auteur d'une oeuvre abondante, il a peu varié dans son esthétique depuis ses débuts de compositeur, fidèle à une écriture atonale (mais non sérielle), usant de micro-intervalles, où l'émotion affleure constamment. Compositeur catholique, Claude Ballif a signé plus d'une pièce d'inspiration sacrée.
![Toni Brown and Terry Garthwaite, Midnight Blues
Joy of Cooking were one of the earliest [some say THE earliest] female-led rock bands. Formed in Berkeley in 1967 by pianist and main songwriter Toni Brown, along with folk-singing guitarist Terry Garthwaite (also known as Ruby Green), their music was an ear-catching polyrhythmic amalgam of folk, rock, jazz, blues and gospel elements driven by the duos interweaving vocal verve atop a freewheeling, innovative three-man rhythms section. The rest of the band consisted of bass guitarist David Garthwaite (Terrys brother), drummer Fritz Kasten and percussion player Ron Wilson. Keyboard player Stevie Roseman replaced Toni Brown for a time and bass players Happy Smith and eventually Jeff Neighbor replaced David Garthwaite on bass guitar. The music was a mix of hippy(sic) sensibility on blues and folk roots, and the lyrics often reflected feminist or environmental themes.
Joy of Cooking recorded three albums with Capitol Records. Brown and Garthwaite had solo careers afterwards and also released albums as a duo, mostly notably Cross Country, Midnight Blues is, to our ears, one of the standout cuts from that fine album recorded in Nashville.
The San Francisco Chronicles Jon Carroll described The Joy of Cooking as a remarkable rock and roll band, half ballads and half boogie, with a driving rhythm section fronted by two swell women, Toni Brown (a smart, crafty songwriter who could evoke sentiment without sentimentality) and Terry Garthwaite (who sings like an angel with dirty wings.)
Rather unusually (especially for the time) the members of the band were all over thirty when they cut their first record. According to some, it is for this reason that they and Frank Sinatra veteran John Palladino to produce their first record.
If you like this cut (and if you dont youve got a hole in your soul), you should check out our posting of the Joys finest studio outing (in our opinion), Sometimes Like A River (Loving You), one of the most beautiful love songs ever written, in our humble opinion.
Thanks for falling by. Toni Brown and Terry Garthwaite, Midnight Blues](https://i.ytimg.com/vi/esfn9URRlXI/mqdefault.jpg)




![Karel Goeyvaerts, Sonata für zwei Klaviere, 2. Satz(K.Goeyvaerts & Karlheinz Stockhausen, Klavier)
Darmstadt, 1951: The now famous, often-repeated ancecdote about the premiere of the second movement of the Sonata for Two Pianos, which Karel Goeyvaerts and Karlheinz Stockhausen presented in the composition course given by Theodor W. Adorno: Adorno reacted to the sparse sequence of notes with the question, Why did you write it for two pianos? Goeyvaerts who spoke only a little German was thrown off at first; but then Stockhausen stood up and offered a clear analysis of the composition. Adorno asked about the classical foundations of music, such as motif, antecedent and consequent phrase. Professor, answered Stockhausen, you are looking for a chicken in an abstract painting. In a radio address three years later, Adorno discussed the scene again: Critics cannot be blamed for not having understood this latest form of rationality set free; for, by its own agenda, it wishes not to be understood but to be demonstrated. Any question regarding the function of any phenomenon in the context of the composition is responded to with derivations from within the system itself.
After studies at the Royal Flemish Music Conservatory in Antwerp, Goeyvaerts studied composition in Paris with Darius Milhaud and analysis with Olivier Messiaen. He also studied ondes martenot with Maurice Martenot, who invented the instrument (Delaere 2001).
In 1951, Goeyvaerts attended the famous Darmstadt New Music Summer School where he met Karlheinz Stockhausen who was five years younger. Both were devout Catholics and found ways of integrating religious numerology into their serial compositions. They found themselves deep in conversation, and performed a movement from Goeyvaertss Nummer 1, Sonata for 2 pianos in the composition course by Theodor Adorno there. They were both astonished upon hearing for the first time Messiaens Mode de valeurs et dintensités (from Quatre Études de rhythme), in a recording by the composer which Antoine Goléa played at a lecture. These experiences together convinced Stockhausen he should study with Messiaen.
Goeyvaerts became very excited in 1952 when he learned that Stockhausen had access in Paris to a generator of sine waves. Goeyvaerts saw them as an important discovery for music: the purest sound possible. At the time, Stockhausen did not share his enthusiasm, owing partly to the inability with the equipment at hand to superimpose sine tones. Only later, after taking up his new post at the NWDR Electronic Music Studio in Cologne, did Stockhausen find more suitable equipment, in July 1953 (Toop 1979). One of the first works produced there was Goeyvaertss Nr. 5 with Pure Tones, which Stockhausen helped his friend to realize. (When Stockhausen seemingly abandoned his work with sine waves and returned to writing compositions for solo piano, Goeyvaerts felt that Stockhausen was abandoning an important discovery and took up the matter from a philosophical point of view himself.)
There has been some controversy about who wrote the first European total serial composition. His Nummer 2 (1951) for 13 instruments is one of the contenders (Delaere 1994, 13), as is his Nummer 1 (1950) Sonata for Two Pianos, and the Sonata for Two Pianos by Michel Fano (1950), depending on definitions of total serialism (Toop 1974).
After withdrawing from the musical world for a while, he accepted a position in 1970 at the Institute for Psychoacoustic and Electronic Music (IPEM) in Ghent, which led to several other prestigious appointments in Belgium. His works from after 1960 take on aspects of minimalism, the best-known examples being his series of five Litanies (1979 82) and his final work, the opera Aquarius (1983 93). Though minimalism is ordinarily thought of as a reaction against serialism, for Goeyvaerts both techniques were merely subcategories of a non-dynamic, static music (Delaere, Beirens, and Staples 2004, 32 33). Analyses of his early serial compositions (especially the electronic Nr. 4, met dode tonen [with dead tones] and Nr. 5, met zuivere tonen [with pure tones]) reveal how close the connections actually are (Sabbe 1977). [The perpetrator of this channel take the liberty of expressing his strong disagreement with Goeyvaerts in this matter, and regrets this composers sad regression into minimalism at the end of his career.] Goeyvaerts died suddenly in 1993. Karel Goeyvaerts, Sonata für zwei Klaviere, 2. Satz(K.Goeyvaerts & Karlheinz Stockhausen, Klavier)](https://i.ytimg.com/vi/gDDFbMKde-c/mqdefault.jpg)




