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Biography
Harmonie Universelle
Light and Shadow; Color; Consonance and Dissonance; Poetry; Spice; Energy: the nexus of Harmonie Universelle. It is known for its artistic vision and fresh approach to the vast repertoire of chamber music originating from the seventeenth and eighteenth centuries. Its distinctive style and highly developed musicianship engage the listener, inviting them on a journey into the myriad of human emotion that, alongside musical rhetoric, is the living breath of this period. Says Diapason: “Florian Deuter and his friends deploy a sonority which is simultaneously sensual and seductive, sensitive and homogeneous.”. Adds Le Monde de la Musique: “Directed by their first violinist Florian Deuter, Harmonie Universelle reveals itself to be an excellent ensemble, giving attention to all the dimensions of the writing.”.Harmonie Universelle is formed by musicians from Western Europe and the Americas. Its director, German-born Florian Deuter brings his wealth of experience to the group to bind the array of cultures and temperaments that manifest the voice of the ensemble. Alongside are Mónica Waisman, Argentine Violinist; David Glidden, Canadian Violist and Violinist; and, forming the continuo, French Harpsichordist Philippe Grisvard and Hungarian Cellist Balázs Máté.
More important to the ensemble than the superlative praise in the press and the enthusiasm of the public is their self-appointed mission of giving the most harmonious interpretation of the works they perform; the name 'Harmonie Universelle' symbolizes this commitment. It is in reference to the renowned treatise on music, Harmonie Universelle (Paris, 1636-7), by the French polymath Marin Mersenne (1588-1648).
For Mersenne consonance was the fundament of a work of music, and dissonance was reserved for purely ornamental function. In developing rules for the construction of melodies he stressed the relationship of music to rhetoric and recommended use of the practice of ars combinandi should a problem arise in the compositional process. Through the study of Greek metrics, their emotional content and oratorical elements, he contributed to rhythmic theory. He distinguished between national styles of performance practices. In short, this treatise is a celebration of creation; thus connecting themselves with this important philosophy they offer their audiences fodder for the mind and the heart.
Florian Deuter has had a remarkable career in the field of Historical Performance Practice. Since Reinhard Goebel invited him in 1986 to join Musica Antiqua Köln, he has propelled himself into positions of leadership by means of his formidable talent and unquenchable energy. By 1994, he was concertmaster of Goebel's Musica Antiqua Köln, and since has led the Paul McCreesh's Gabrieli Consort, and the Chapelle Royale/Collegium Vocale Gent of Philippe Herreweghe. He has also acted as soloist and concertmaster of the Amsterdam Baroque Orchestra under Ton Koopman; Les Musiciens du Louvre of Marc Minkowski, The European Baroque Orchestra, Musica ad Rhenum, and Capriccio Stravagante. In 2003, he founded the ensemble Harmonie Universelle to explore the diverse literature of seventeenth- and eighteenth-century chamber music.
Monica Waisman studied violin at the Oberlin Conservatory with Marilyn McDonald, and at the Koninklijk Conservatorium Den Haag with Elizabeth Wallfisch. Her career has taken her to many places on the globe as a member of several baroque ensembles including the Carmel Bach Festival Orchestra under Bruno Weill, Ensemble Elyma under Gabriel Garrido, Marc Minkowski’s Les Musiciens du Louvre, Pablo Valetti’s Café Zimmermann and Musica Temprana. She has made several recordings which range from the standard repertoire of the European Baroque and Classical literature to unknown pieces from eighteenth-century South America.
David Glidden has always wanted to be a string player and as such he finds pleasure in playing the violin and viola. His life has been rich in cultural and geographic diversity, deeply affecting his way of thinking. Educated 'outside of the classroom' between North America and Europe, his musical experiences have been diverse and exciting: exploring historical performance practices, string quartet playing, and dabbling in the Spanish art of flamenco.
Bálazs Máté was born in Budapest. He studied at the Bela Bartok Conservatory and the Franz Liszt Music Academy. His postgraduate baroque cello studies were at the Royal Conservatory in The Hague and chamber music lessons by Nikolaus Harnoncourt at the Mozarteum in Salzburg. After the membership in the Hungarian National Philharmonic Orchestra (1986-91) he was solo cellist in famous baroque orchestras such as J. Savall’s Le Concert des Nations; M. Haselböck’s Vienna Academy; M. Minkowski’s Les Musiciens du Louvre, etc. He has recorded the complete cello concertos by C.Ph.E.Bach., concerti by Vivaldi, the cello concerto by G. M. Monn and the solo suites of J.S. Bach.. As a soloist he has given concerts across Europe, Brazil and Argentina...
Philippe Grisvard began his musical studies with piano and oboe. At the age of seventeen he became interested in early music and entered the class of Anne-Catherine Bücher. In 1999 he was accepted at the Schola Cantorum Basiliensis, where he studied harpsichord and basso continuo with Jesper Christensen and fortepiano with Edoardo Torbianelli. He also attended chamber music lessons with Christophe Coin, Chiara Banchini and Paolo Pandolfo. Since 2002 he is a member of La Cetra, where he has played under the direction of Konrad Junghanel, René Jacobs and Jordi Savall, among others.
www.harmonie-universelle.com
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