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Meïmoun, François

Born in 1979, François Meïmoun studied at the Cnsm de Paris with Michael Levinas, at the Université Sorbonne-Paris IV at the Ecole des Hautes Etudes.

His works are performed by many soloists and ensembles (Quatuor Arditti, Quatuor Ardeo, Quatuor Voce, Quatuor Deixis, Alain Billard, Christophe Desjardins, Florian Frère, Chen Halevi, Hélène Tysman, Sébastien Vichard, Ensemble Court-Circuit...) and programmed in French festivals (Musica, festival d'Aix en Provence, Théâtre des Bouffes du Nord, festival de Chambord, les Rencontres de la Prée, Centre Beaubourg, festival de Pâques de Deauville, ProQuartet) and abroad (festival Zeitkunst in Berlin, festival Belo Horizonte in Brazil).

He is composer in residence at the Abbaye de la Prée between 2011 and 2012, and at the festival de Chaillol for which he composed Tara, first part of a portrait of  Antonin Artaud. He participted to the Atelier opéra en création at the festival d'Aix en Provence in 2013 where his Quatuor à cordes n° 2, untitled – selon pollock is premiered.

After the premieres of his Quatuor à cordes n° 3 at the Paris Théâtre des Bouffes du Nord by Quatuor Ardeo and his Quatuor n° 4 for mezzo soprano and string quartet Fragments d’un journal d’enfer by Quatuor Voce, he is currently composing a portrait of Paul Celan and his first opera based on Francis Bacon. 

Dein Gesang, "Portrait de Paul Celan" (2017)
for 2 female voices (S, MS), 3 percussionists and viola
Editions Durand - Location
PDF Have a look at the score

La Danse du Peyotl (2016)
for 4 hands piano 
Editions Durand - On purchase 

Mews song (2016)
opéra for 3 singers and 8 musicians
Éditions Durand - On hire

Pérèk chira (2015)
quartet with  piano
Éditions Durand - On purchase

Tsimtsoum (2015)
string quintet
Éditions Durand - On hire

Viola concerto - Le chant des barbares (2014)  —  — timb - 2 perc - cél - hp  —
10 min. Éditions Durand - On hire
PDF Have a look at the score

Le chant des barbares (2013)
Sonata for viola
Editions Durand - On purchase

Fragments d'un journal d'enfer (2013)
Quatuor à cordes IV
for mezzo-soprano and string quartet
Éditions Durand - On purchase
PDF Have a look at the score

Quatuor à cordes III (2012-2013)
Éditions Durand - On purchase
PDF Have a look at the score

untitled - selon pollock (2012)
Quatuor à cordes II
Éditions Durand - On purchase

More about François Meïmoun on Youtube


François Meïmoun talking about Pierre Boulez’s Sonate n°1

"Pierre Boulez’s Sonate n°1 for piano is both a work of tradition and of modernity. The discussions about the piece that arose in the 1970s suggested that it represented a clean-slate - a seducing concept which gave an allure of prestige to the work, but which also make it lose its essence and originality.

The gestation of the work spanned several post-war years – a time when Boulez combined all he had assimilated since his arrival in Paris: the influences of Messiaen, Jolivet, Les Viennois, Bartók and others.  He intentionally and consciously drew precisely on this synthesis of everything he had acquired. The successive manuscripts of the Sonate n°1 revealed that this synthesis was the way for the creation of a new form of pianism, which emerged from the literature particularly of the composers Char and Artaud whom Boulez discovered.

Sonate n°1 is an isolated work that fights against its time, unlike the Sonate n°2 that makes reference to the history of the period. It is a definitive work, because it does not care to educate its audience.

Is a Sonata for the eye or for the ear? It is a work, to quote Jean-Louis Barrault, of broken movement. In this way it stands alone:, it is not like the music from previous decades. The risk is decidedly great, talking about works and their meaning. Today, the Sonate n°1, composed outside of the Classical beaten-track, is understood to be a unique page in the history of modern French piano."