Patron of the arts and sciences, Anne Gruner Schlumberger has supported contemporary composers, such as Roger Blanchard (1919-2011), Erich Itor Kahn (1905-1956), Gérard Grisey (1946-1998).
To continue to support artistic creation, the Fondation des Treilles creates a composition residency prize dedicated to the production of a musical work for concert, stage or audiovisual purpose and for which the candidate has already a commissioning contract signed with either a public or private musical structure.
This prize consists of a three-month residence at the Domaine des Treilles (Var), with a monthly prize of €2,650, paid according to the length of the resident’s stay.
Applications are open to all nationalities from May 1st to October 1st.
Only professional candidates whose music has already been recorded or performed may apply.
The project for which the candidate submits his/her application must be either under a contract of engagement or commissioned by a public or private institution (Opera House, Orchestra, AV producer etc…). The commissioning contract must identify both parties, the musical work, the commission fee as well as the date of completion of the work. You cannot apply if the date of completion is prior to the date of residency.
Applications are received via an online form including a CV, the list of works already composed and a presentation of the project. At the same time, candidates must send to firstname.lastname@example.org :
– at least two scores (in PDF format only) and the corresponding recordings or links to these recordings, if not the sound files (in mp3 or mp4 format only) ;
– the commissioning contract.
All applications are evaluated by the jury, which selects a laureate.
To know when to send your application, please refer to the applications deadlines.
The prize winner will be hosted at the Domaine des Treilles for a total period of three months, although the stay may be fragmented. The first trip to and from the Fondation des Treilles is refunded. Meals and accommodation are also provided by the Foundation, which allows the laureate to devote himself/herself fully to his/her creative project.
The laureate stays in the Maison de Moussu which includes a bedroom, kitchen, bathroom and the composition studio.
This composition studio is equipped with an upright piano, a keyboard, a sound card and speakers.
The laureate must bring his/her own computer.
The laureate undertakes to respect the rules and regulations of the music composition residency.
At the end of the residency, the prizewinner is invited to give a copy of his or her score to the Foundation’s music library.
The jury is composed of 7 personalities from the musical world :
– Philippe Hersant, composer, president of the jury
– Ivan Alexandre, musicologist and director, director of the Voice Academy,
– Régis Campo, of the Académie des Beaux-Arts, composer,
– Alphonse Cemin, conductor and pianist,
– Thierry Escaich, of the Fine Arts Academy, composer,
– Jean-Pierre Luminet, astrophysicist,
– Maryvonne de Saint Pulgent, President of the Fondation des Treilles, representing the Board of Directors
Winners over the years
Winner of Sacem’s « Francis et Mica Salabert » prize, Tomás Bordalejo is also laureate of the Banque Populaire Foundation and in 2019 he won the prize of the Tribune of Composers of Argentina (TRINAC).
He arrived in Paris in 2005 to pursue higher education, after three years of jazz studies at the Institute of Contemporary Music in his native city. He joined the conservatory of Gennevilliers, then the CRR of Paris, the Pôle Supérieur de Création Boulogne-Billancourt and the University of Paris IV where he obtained a National Professional musical Diploma and a Musicology licence.
His encounter with the composer Bernard Cavanna at the Académie de Villecroze was decisive for his career. Peter Eötvös, Pascal Dusapin, Edith Canat de Chizy, Yan Maresz, Philippe Hersant, and Philippe Manoury also encouraged him to consolidate his own language marked by an original aesthetic.
His work is part of a genuine compositional research marked by a constant dialogue with the arts, architecture, urbanism and philosophy.
Each piece bears witness to a staging of the sound material and a new reflection on the modes of play.
Tomás Bordalejo has collaborated with the main French ensembles (2e2m, Court-cicuit, l’Itinéraire, TM+) as well as with internationally renowned soloists (Gérard Caussé, Noëmi Schindler, Vincent Lhermet, Michel Portal, David Kadouch, Paul Meyer). His music has been performed in prestigious venues such as the Philharmonie de Paris and the Colon Theatre in Buenos Aires.
His project will focus on an instrument with deeply Mediterranean roots and a history marked by migration: the mandolin.
Between learned music and traditional music, the mandolin carries a rich history marked by migration and the Mediterranean cultural ensemble. Its hybrid characteristics, between lute, guitar and violin (G-D-A-E chord), make it the instrument of choice for the Florentine serenade of the 18th century as well as the Neapolitan song of the 19th century. In the 18th century, the mandolin was adopted by the French royalty and the best Italian mandolinists settled in Paris, thus marking a first migration.
At the end of the 19th and beginning of the 20th century, the mandolin travelled a second time in the suitcases of the French, Italians and Spaniards leaving their land for the Americas in search of a better future, taking with them the repertoire of southern Italy: that of the Neapolitan song, whose influence will be fundamental for the Argentinean Tango or the Brazilian Choro.
During his stay at the Fondation des Treilles he will work on a triptych around the mandolin:
– a piece for solo mandolin
– an installation piece for tactile tapestries, mandolin and electronic support
– a chamber opera in which the mandolin will play a central role.