updated 28 April 2014

André Jolivet

French composer born 8 August 1905 in Paris; died 20 December 1974 in Paris.

The son of amateur artists (his mother was a pianist; his father, a painter), André Jolivet was born in Paris in 1905 and began studying piano and music theory in 1909 with Henriette Fleurmann. He then briefly tried the clarinet and then, more seriously, the cello (around 1918); around the same time he joined the musical circle of the Church of Notre-Dame-de-Clignancourt, directed by Father Théodas. Jolivet was a school teacher in the city of Paris from 1924 to 1942, and at the same time followed his musical calling from a young age. He studied music theory and orchestration with Paul Le Flem (1927-1932), and composition with Edgard Varèse (1929-1933).

In 1931, Jolivet composed a String Quartet (his “school tribute” - testament scolaire, revised 1934), and one of his compositions was performed in public for the first time: his Trois Temps n°1 for piano premiered in a performance at the Société Nationale de Musique (SNM). After that, he was a regular guest of the SNM (notably, his Cinq incantations for flute were performed there), and participated in the creation of two concert societies, La Spirale (1935-1937), at whose first concert his Mana was premiered, and Jeune-France (founded in 1936 with Yves Baudrier, Daniel-Lesur, and Olivier Messiaen). At this time he began formalizing and disseminating his aesthetic approach, which was built on his left-wing political involvement, in lectures and articles.

After a first marriage to the violinist Martine Barbillon (1929), with whom he had a daughter, Françoise-Martine (born in 1930), in 1933 Jolivet married Sarah Hilda Ghuighui, with whom he had three children — Pierre-Alain (1935), Christine (1940), and Merri (1943). Hilda, who was Jewish, had survived the Second World War under the anti-semitic laws of France’s Vichy government. André, returning from his military service (an experience that inspired Les Trois Complaintes du Soldat), nevertheless continued to forge a place for himself in French musical circles. A member of the Association de Musique Contemporaine (1940) and the Groupement des Compositeurs de Paris (1943), he composed the ballet Guignol et Pandore for the Opéra de Paris (1944), sat on juries at the Conservatoire de Paris (for the flute section, for which he composed Le Chant de Linos in 1944), wrote a book on Beethoven (published in 1955) and worked from time to time for the Comédie-Française, for which he composed and had his first experiences as an orchestra conductor (Le Soulier de satin, 1943). He was elected musical director of the Comédie-Française, a position he held from 1945-1959. After 1945, he conducted performances around the world.

It was after World War II that Jolivet gained a wide national and international reputation. He was a prolific composer for all formations, ranging from solo pieces (two Sonatas for piano, 1945 and 1957; Cinq Eglogues for viola, 1967; Ascèses for clarinet, 1967) to orchestral compositions (12 concertos for various instruments, 1948-1972; three Symphonies, 1953, 1959, and 1964), as well as chamber pieces (Rhapsodie à sept, 1957; Cérémonial for percussions, 1966), and vocal works (Epithalame, 1953; La Vérité de Jeanne, 1956; Le Cœur de la matière, 1965). Jolivet also composed stage pieces, for dance and theater performances. Among other places, he traveled to Austria and Hungary (1949), to the United States (1960, 1964), to Japan (1959, 1970), and to the U.S.S.R. (8 concert tours between 1966 and 1974), a testament to his renown outside of France. His success, highlighted by seven Grands Prix du Disque was punctuated by a few scandals, for example, the turbulent premieres of the symphony pieces Cinq danses rituelles in 1944 and Concerto for piano in 1951.

Jolivet was also involved in certain distribution and promotional organizations – he was president of the Association des Concerts Lamoureux (1962-1968) – and advocated for musicians’ working conditions. In 1965, he was made honorary president of the Syndicat National des Artistes Musiciens and elected president of the Fédération Nationale du Spectacle-C.G.T., two performers’ unions, and with them participated in the May 1968 protests.

Jolivet was a Chevalier de la Légion d’Honneur (1955) and Commandeur dans l’Ordre National du Mérite et des Lettres (1973), served as a technical advisor to the French Ministry of Cultural Affairs (1959-1962), and in 1962 was a member of the Commission for the IVth and Vth Plans (French governmental planning commissions). In 1959, he founded the Centre Français d’Humanisme Musical, a composition and performance workshop located in Aix-en-Provence, which folded in 1963. He also taught at the Conservatoire de Paris, succeeding Jean Rivier and Darius Milhaud as professor of composition (1966-1970).

He died on 20 December 1974, leaving behind an uncompleted opera, Bogomilé.

© Ircam-Centre Pompidou, 2014


  • Suzanne Demarquez, André Jolivet, Paris, Ventadour, 1958.
  • Pierre Gaucher, De La Spirale au groupe Jeune France (1935-1945). Les tourments d’une avant-garde musicale, Thèse de doctorat de Musicologie, Université de Tours, 2001.
  • Hilda Jolivet, Avec… André Jolivet, Paris, Flammarion, 1978.
  • Lucie Kayas, André Jolivet, Paris, Fayard, 2005.
  • Jean-Claire Vançon, André Jolivet, Paris, Bleu Nuit, 2007.

By Jean-Claire Vançon

For those who like music that is well-organized, André Jolivet may be disconcerting — and that is his virtue. His Piano Concerto provoked an uprising at its premiere in 1951, after which a number of those present finished the evening at the police station. One bold but anonymous listener wrote to Jolivet in 1969 to call him “Maestro Dodec-Cacophonist” and “Chief Cretin and Ear Shatterer” and accuse him of caring only for being “modern.” And yet Jolivet’s output was lengthy, and he received numerous state commissions and official distinctions. Couldn’t these be interpreted as signs of sage academicism? Appearances are insufficient; the question cannot be answered without listening to his music. But even then, opinions may change depending on what one listens to. For example, when the symphonic Les trois complaintes du soldat premiered in 1943, the composer Robert Bernard was shocked by the “essentially direct tone” of the work, as Jolivet had theretofore been known for his “incorrigible quest for aggressive novelty.”1 Jolivet’s trajectory was redirected several times over — from his avant-gardism of the 1930s, to his adoption of established models after 1940, which became sites for renewed experiments after 1958.


In 1936, Jolivet appeared to critics as the most “red”2 of the members of Jeune France, a group of composers united by their desire to produce “works [which are] youthful, free, as far removed from revolutionary formulas as from academic formulas.”3 Jolivet’s earliest compositions eschew rules and constraints on his creativity. In 1923, on a sketch page now preserved in his private archives, the young autodidact wrote: “Can we perfectly apply principles drawn from the work of a genius? Their application is beautiful when done by the geniuses themselves, but it loses its greatness when it becomes a grammatical rule imposed on the ideal.”4 The training he received from Paul Le Flem and Edgard Varèse, outside of any institutional context, did not suppress his iconoclastic instincts. Only sporadically and in polarized contexts did Jolivet use traditional chords, sometimes blurred by polytonality — as in Deux poésies de Francis Jammes (1928) and Three Times No. 1 for piano (1930). Elsewhere he avoids traditional chords altogether in the name of the disciplined atonality advanced by Varèse. Upon discovering Arnold Schoenberg at a 1927 concert, Jolivet became interested in dodecaphony. In 1937, he asked Max Deutsch, in vain, to initiate him in the method, having already tried to appropriate it intuitively in his Quatuor à cordes (1931, revised in 1934).

In the 1930s, Jolivet directed his voice toward Mana, the first work in which he claimed to have tried to “realize [his] conceptions of music.” A reader of Antonin Artaud, Alexandre Saint-Yves d’Alveydre, and Matila Ghyka, Jolivet also exchanged views with the astrologically inclined Georges Migot and the esoterically inclined Hélène de Callias and Serge Moreux. These exchanges left him with the conviction that music was a “magic process” and that the musician was “an intermediary between Heaven and Earth.” To Jolivet, two civilizations seem to have already conceived of music in this way: the ancients and so-called “primitive” peoples. From Émile Durkheim or Henri Bergson, he encountered the Melanesian notion of “mana,” that “mysterious and active force possessed by certain individuals, the souls of the dead, and the spirits.” The six movements of Mana were each inspired by one of six objects left for Jolivet by Varèse prior to his return to the United States, which thus carried the impulse of his absent teacher. Jolivet’s works in this aesthetic could be described as “primitivist.” They include not only Mana, but also Prélude apocalyptique for organ, Danse incantatoire for orchestra, Cinq incantations for flute, Incantation … Pour que l’image devienne symbole for violin, Cosmogonie for piano or orchestra, and Cinq danses rituelles for piano or orchestra. Jolivet was convinced that universal harmony was revealed and transformed by the physical structure of sound itself, and that only music that took into account acoustical properties could bring about collective listening within a large group. Accordingly, and influenced by the teachings of Varèse, he used the laws of the corps sonore (the “sonorous body”) to demonstrate the “insufficiency of the tonal system” and to allow spectral concerns to govern his harmonic choices. The “primitive” model, meanwhile, imparted developmental procedures based on alternation and repetition (including varied iteration and developing proliferation) for constructing both line and form.

These works were novel and pioneering: post-war aesthetics were present in his use of autonomous musical parameters, irrational rhythmic construction, and experiments with instrumental timbre. For that reason, the pre-war Jolivet contributed significantly to the reputation he enjoyed after 1944. Many viewed him as Varèse’s student, and he was a faithful promoter of his teacher’s music. Having been assimilated by modernists, Varèse was the mediating figure who justified Jolivet’s being performed by the Ensemble Instrumental de Musique Contemporaine de Paris in 1964 and 1970, and invited in 1973 by Itinéraire to join their patronage committee — even as Jolivet’s compositions post-1958 rekindled the primitivist style he had more or less abandoned since 1940. His Cinq églogues for viola and his Ascèses for clarinet (1967) recall his Cinq incantations for flute, with their disjointed intervals over irregular rhythms and an unstable meter. From 1959 to 1974, Jolivet, who was also a former cellist, wrote a significant number of works for string instruments. With the warmth and abstraction of the string timbre, sometimes used as noise, Jolivet produces strange, sinuous, and expressive incantatory lines. These works again share a link to Varèse through a percussive throbbing — as in Cérémonial, a posthumous homage to Varèse, as well as Heptade, the Cello Concerto No. 1 (“Hiératique”), the Symphony No. 3 (“Véhément”), the Concert Suite for Flute and Percussion, and Controversia with its timbal-like harp.


Jolivet’s two primitivist phases were separated by a period during which his inspiration, while ample, was rather less disconcerting, insofar as his creativity drew upon established models. At the Comédie-Française, he demonstrated his conviction that a composer should be able to write “in every style.” He treated music as an element of décor: just as the set of the 1951 production of Le Bourgeois gentilhomme included a reconstruction of a room in the Château de Chambord where the work had premiered, so Jolivet took Jean-Baptiste Lully’s score under his baton. Especially after 1946, he expressed his desire to work toward a “synthesis of all the experimentation, of all the audacities of the past twenty years, enriched by the study of all the theories of the past and of all exotic techniques.” The clash of two traditions embodied in his Piano Concerto — exotic musics and the romantic concerto — ultimately created a memorable scandal.

Committed to “French music,” Jolivet held up Jean-Philippe Rameau as a national musical “prototype” — even while his own writing hardly resembles that of Rameau. And although he cited Igor Stravinsky, Manuel de Falla, Schoenberg, and Béla Bartók (to whom he dedicated his Piano Sonata No. 1) as the “spiritual inheritors of the great liberator, Claude Debussy,” Jolivet used none of these composers as a model either. Meanwhile, he wrote in “obstinate rhythms” under the dual influence of Johann Sebastian Bach (in the “Fugato” of the Concerto for Bassoon, String Orchestra, and Piano) and of bebop (the two trumpet concertos). Frenetic sixteenth-note passages are a stylistic trademark of his post-war style. Though his rhythmic writing rarely ever again approaches the complexity of Mana or Cinq incantations, it is sometimes shaped by extra-European influences (Asia in Concerto for ondes Martenot, Africa in the Allegro deciso of the Piano Concerto, Turkey and the Arab world in “Fluide” from his Symphony No. 2). Jolivet credits Beethoven for “the projection of sound” in his Concerto for ondes Martenot and for the development by “variation of orchestral mass” in his writing for large forces. Jolivet had previously attributed these qualities to Varèse, a fact that demonstrates the extent to which these names invoked to describe his work follow rather than precede the crystallization of his aesthetic convictions — and that the tutelage of one could easily be swapped for that of another.

Jolivet thus made the emblematic genres of the classical and romantic eras — the sonata, symphony, and concerto — his own. His attachment to the concerto genre may be understood in light of his friendship with great French soloists, to whose “transcendent technique and musical subtlety” each concerto pays “homage.” This romantic conception of instrumental supremacy, moreover, helps to explain why Jolivet never composed for the studio — and why his interest in electronic instruments was limited to the ondes Martenot, for which he wrote very early on (Trois poèmes pour ondes et piano from 1935). His heightened sense for timbre is apparent throughout these pieces and is a primary feature of the “twelve-part vocal orchestra” of his Epithalame.

As early as the 1920s and 1930s, the sonata and rondo made their imprint on Jolivet’s approach to form. In the aftermath of the war, he used these models — sometimes again in conjunction with extra-European references (as in the Piano Concerto, which was initially titled Equatoriales) — to structure multiple levels of the work: oppositions between movements and between sections, which he described in his sketches as “punctuations,” “enclaves,” or “sonic corners.” Elsewhere he crossbreeds forms. Whether in his Sonata No. 1 for Piano or in Mandala, many of his movements may be read as embedding several thematic networks. These are elaborated as a series of variations dispersed across the form and interwoven with variations from another thematic network, in a fusion of the sonata and rondo.

Meanwhile, Jolivet’s pitch systems are conceived in a highly syncretic modal framework. He generates his own scales, and borrows as often from liturgical modes (Messe pour le jour de la paix) as from modes of limited transposition, Greek modes (Suite delphique, Le Chant de Linos), and Hindu modes (Étude sur les modes antiques, Piano Concerto). He variously assimilates or contrasts these modes with tonality, whether by orienting the music around one pitch (not always the tonic) or by using the full chromatic range to play up the opposition between the notes belonging and not belonging to the mode (the Allegro molto in Piano Sonata No. 2, “Fluide” from Sonata for Flute and Piano).

In addition to his pursuit of modal continuities, Jolivet identified lyricism as a constant throughout the history of French music. He preferred lyricism to the well-worn qualities of elegance and concision. Lyricism, as it was for Jolivet, is exemplified in the variation lyrique,5 or fourth movement, of his Concertino for trumpet, piano, and string orchestra, and in the chant lyrique that arises in the soloist’s part following the introduction in the Largo cantabile in the Concerto for ondes. His lyricism represents an equilibrium between the demands of measure, rhythm, and expression: emphasis on the downbeat, flexible alternation between binary and ternary rhythms, and alternation between conjunct and disjunct intervals. This approach, used in the voice in Jardins d’hiver and in the slow movements of the concertos (sometimes marked cantabile), reveals how much lyricism is a quest for song. But is this lyricism, with its highly diversified melodic material that cannot easily be defined, really French? If it is not used to evoke France in La Vérité de Jeanne (which Jolivet composed for the fifth centenary of the posthumous pardon of Joan of Arc), it might be because it more logically comes from Austro-German lineage – that of Richard Wagner or Alban Berg.


Jolivet described his stylistic shift of 1940 as a desire to quell his pre-war detractors. Already in August 1937, he had admitted to Migot that he felt a sort of “musical stagnation.” He needed renewal — one that would be more a reformulation of, rather than a rupture with, the aesthetic project of the 1930s.

Thus in place of the fundamental Religion (capital R) of the “primitives,” Jolivet substituted a sense of religion (lowercase r) more in line with Catholic tradition, as in the Prélude apocalyptique for organ, an incantation performed on the instrument of the church. In 1938, the composition of two Kyries and the planned composition of a Mass reveal Christian influences that were encroaching, albeit fleetingly, on his primitivism. The work of the Jesuit philosopher Pierre Teilhard de Chardin (whose writings formed the libretto of Cœur de la matière) would later offer the means to reconcile these two tendencies: Jolivet adopted a form of spirituality closely related to primitivist devotion, reflected in a revamped style incantatoire. In place of relatively vague notions of ancient musical tradition, he pursued the more precise tradition of French music, resuming a trajectory he had embarked upon before the war. In the political climate, the threat of fascism from within and without led leftist parties to unite in 1934 in a national project to reverse internationalist discourses. Similarly, Jolivet took up from 1939 a call for a “reestablishment of a true French musical tradition,” with “lyric outpouring” as its touchstone. Finally, in place of “Man” (capital M) understood in its anthropological generality, Jolivet substituted the social role of man (lowercase m) in the contemporary listening public. For Jolivet, a committed activist for leftist causes, music should occupy a place in everyone’s daily life, and only has meaning insofar as it is heard by the greatest number. If his time spent with Varèse had initially inspired in him an idealist notion of soundwaves heard by the body, several public failures led Jolivet to desire communication with his listeners by means of a shared musical language.

Thus many of Jolivet’s shifts in reference are underpinned by a similar structure: the suppression of capital letters, representing disenchantment with utopian thought. He underwent coherent self-development, that of a man who, as he composed, more readily analyzed his own works than those of others, and found in his past the paths toward his own renewal, putting the resources of the avant-garde to his own ends. He was impressed by what Teilhard writes in Hymn à l’Univers, “Nothing is more precious than what is you in others, and others in you,” words that Jolivet used as the epigraph to his own Hymn à l’Universe. He sometimes took it upon himself to update prior works (for instance, Psyché, the second part of a cycle begun with Cosmogonie of 1938, was none other than a profound rewriting of the Danse incantatoire of 1936). In doing so, he was consistent with his self-described approach. “A musician only writes one work that unfolds in time, and that takes the name of several opuses,” he affirmed in 1957. “Yes, one sole work, continually unfolding.”6

  • Laetitia CHASSAIN, “André Jolivet: la force de l’intuition,” thesis, Conservatoire national supérieur de musique et de danse de Paris, 1999.
  • Laetitia CHASSAIN and Lucie KAYAS (dir.), André Jolivet: Portraits, Arles, Actes Sud, 1994.
  • Bridget CONRAD, “The Sources of Jolivet’s Musical Language and His Relationships with Varèse and Messiaen,” PhD diss., City University of New York, 1994.
  • Luisa CURINGA, André Jolivet e l’umanismo musicale nella cultura francese del Novecento, Rome, Edicampus Edizioni, 2013.
  • André JOLIVET and Edgard VARESE, Correspondance. 1931-1935, ed. Christine JOLIVET-ERLIH, Genève, Editions Contrechamps, 2002.
  • Lucie KAYAS (dir.), Portrait(s) d’André Jolivet, Paris, Bibliothèque nationale de France, 2005.

1. Robert BERNARD, “La Musique,” Nouveaux Temps, 7 March 1943. 
2. André CŒUROY, “Jeune France,” Gringoire, 19 May 1936. 
3. Translated in Nigel SIMEONE, “La Spirale and La Jeune France: Group Identities,” The Musical Times 143, no. 1880 (2002), p. 15. 
4. Unless otherwise indicated, quotations from Jolivet can be found in André JOLIVET, Écrits, ed. Christine JOLIVET-ERLIH, Paris, Delatour, 2007, 2 vol. 
5. André JOLIVET, draft of letter to Polydor (June 1973), Archives André Jolivet. 
6. Henri GAUBERT, “Comment ils travaillent: André Jolivet,” Musica 5 (1957), p. 7. 

© Ircam-Centre Pompidou, 2014

Catalog sources and details

  • Lucie KAYAS, André Jolivet (1905-1974). Catalogue raisonné, tapuscrit inédit, 2006.

Catalog source(s)

  • Lucie KAYAS, André Jolivet (1905-1974). Catalogue raisonné, tapuscrit inédit, 2006.


  • Leslie A. SPROUT, « Messiaen, Jolivet and the Soldier-Composers of Wartime France », The Musical Quarterly, LXXXVII/2 (2004), p. 259-304.
  • Julian ANDERSON, « Messiaen and the Notion of Influence », Tempo, LXIII/247 (janvier 2009), p. 2-17.
  • Laetitia CHASSAIN, André Jolivet : la force de l’intuition, Thèse de musicologie, CNSNMDP, 1999.
  • Laetitia CHASSAIN et Lucie Kayas (dir.), André Jolivet. Portraits, Arles, Actes Sud, 1994.
  • Bridget CONRAD, The Sources of Jolivet’s Musical Language and his Relationships with Varèse and Messiaen, Ph.D., City University of New York, 1994.
  • Luisa CURINGA, André Jolivet e l’umanismo musicale nella cultura francese del Novecento, Rome, Edicampus Edizioni, 2013.
  • Suzanne DEMARQUEZ, André Jolivet, Paris, Ventadour, 1958.
  • Jane F. FULCHER, The Composer as Intellectual : Music and Ideology in France, 1914-1940, Oxford/New York, Oxford University Press, 2005.
  • Henri GAUBERT, « Comment ils travaillent…André Jolivet », Musica , n°5 (février 1957), p. 7 ; repr. in EAJ, I, p. 260.
  • Pierre GAUCHER, De La Spirale au groupe Jeune France (1935-1945). Les tourments d’une avant-garde musicale, Thèse de doctorat de Musicologie, Université de Tours, 2001.
  • André JOLIVET, Écrits, textes transcrits, présentés et annotés par Christine Jolivet-Erlih, Paris, Delatour, 2007, 2 vol.
  • André JOLIVET et Edgard VARESE, Correspondance. 1931-1935, établie, annotée et présentée par Christine Jolivet-Erlih, Genève, Editions Contrechamps, 2002.
  • Hilda JOLIVET, Avec… André Jolivet, Paris, Flammarion, 1978.
  • Lucie KAYAS, André Jolivet, Paris, Fayard, 2005.
  • Lucie KAYAS (dir.), Portrait(s) d’André Jolivet, Paris, B.N.F., 2005.
  • Lucie KAYAS, André Jolivet (1905-1974). Catalogue raisonné, tapuscrit inédit, 2006.
  • Gérard MOINDROT, Approches symboliques de la musique d’André Jolivet, Paris, L’Harmattan, 1999.
  • Caroline RAE (dir.), André Jolivet : Music, Art and Literature, Farnham, Ashgate, à paraître.
  • Nigel SIMEONE, « Group Identities : La Spirale and La Jeune France », Musical Times, CXLIII/1880 (automne 2002), p. 10-36.
  • Jean-Claire VANÇON, « Jolivet modal : une analyse du Chant de Linos », Traversières, 84 (juillet 2005), p. 39-49.
  • Jean-Claire VANÇON, André Jolivet, Paris, Bleu Nuit, 2007.
  • Jean-Claire VANÇON, « André Jolivet et le “carrefour” de l’après-guerre : choix esthétiques et carrière musicale », in Laurent FENEYROU et Alain POIRIER (dir.), De la Libération au domaine musical : dix ans de musique en France, 1944-1954, Paris, Vrin, 2018.
  • Jean-Claire VANÇON, La Spirale (1935-1937) : « Un nouveau groupement fondé sous l’égide de la Schola », Mémoire d’Histoire de la musique préparé sous la direction de Rémy Campos, Paris, C.N.S.M. de Paris, 2002.
  • André Jolivet, les objets de Mana, Les Cahiers du Musée de la Musique, n°3, Paris, Cité de la Musique, 2003.
  • Guide des œuvres d’André Jolivet , Paris, Association des Amis d’André Jolivet, 2006.


  • André JOLIVET, Chamber Music for oboe and cor anglais, comprenant :Sérénadepour hautbois et piano ;Sonatinepour hautbois et basson ;Controversiapour hautbois et harpe ;Chant pour les piroguiers de l’Orénoquepour hautbois et piano ;Suite liturgique pour voix, cor anglais prenant le hautbois, violoncelle et harpe ; Stefan Schilli (hautbois et cor anglais), Christiane Karge (soprano), Cristina Bianchi (harpe), Marco Postinghel (basson), Sebastian Klinger (violoncelle), Oliver Triendl (piano) ; 1 CD Oehms Classics, 2013.
  • André JOLIVET, Complete Songs, comprenant : Deux Poésies de Francis Jammes ; Chewing-gum ; Faux Rayon ; Rondel « Au retour de dure prison » ; Chanson « La Mule de Lord Bolingbroke » ; Prière des treize hommes dans la mine ; Quatre Mélodies sur des poésies anciennes ; Le Chant des regrets ; Romantiques ; Le Jeu du camp fou ; Les Trois Complaintes du soldat;Trois Chansons de Ménestrel;Poèmes intimes;Trois Poèmes galants;Jardins d’hiver ; Sophie Marillet (mezzo-soprano), Christian Immler (baryton), René Perler (baryton), Filippo Farinelli (piano) ; 1 CD Brilliant Classics, 2011.
  • André JOLIVET, Epithalame pour orchestre vocal à 12 parties ; Madrigal pour quatre voix et quatre instruments ; Missa Uxor Tua ; SWR Vokalensemble Stuttgart (direction : Marcus Creed) ; 1 CD Carus, 2010.
  • André JOLIVET, Tu surgis de l’absence…, comprenant : Sonate pour flûte et piano ; Incantation « Pour que l’image devienne symbole », pour flûte en Sol ; Cinq Incantations pour flûte ; Ascèses pour flûte en Sol ; Chant de Linos pour flûte et piano ; Mario Caroli (flûte), Silva Costanzo (piano) ; 1 CD Stradivarius, 2008.
  • André JOLIVET, Cérémonial pour six percussionnistes, in Cérémonial ; SchlagEnsemble H-F-M (direction ; Christian Roderburg) ; 1 CD Cavalli, 2008.
  • André JOLIVET, Hommage à André Jolivet, comprenant : Nocturne pour violoncelle et piano ; Cinq Eglogues pour alto ; Ascèses pour clarinette ; Rhapsodie à sept ; Geneviève Teulières (violoncelle), Léa Roussel (piano), Alain Jeanneau (alto), Alain Marion (flûte), Michel Lethiec (clarinette), Les Solistes de Marseille (direction : Devy Erlih), 1 CD Lyrinx, 2007.
  • André JOLIVET, Mana pour piano ; Danses rituelles pour piano ; Marie-Josèphe Jude (piano) ; 1 CD Lyrinx, 2007.
  • André JOLIVET, Quatuor à cordes, Suite Rhapsodique pour violon, Nocturne pour violoncelle et piano, Cinq églogues pour alto ; Svetlin Roussev (violon), Eric Lacouts (violon), Hyo-Kyung (violon), Cédric Catrisse (alto), Delphine Biron (violoncelle), Odile Aubouin (alto), Kobiki Massanori (piano) ; 1 CD Saphir Productions, 2007.
  • André JOLIVET, Tombeau de Robert de Visée pour guitare, in : Guitare baroque et moderne ; Christian Rivet (guitare) ; 1 CD Zig-Zag Territoires, 2007.
  • André JOLIVET, Concerto pour violon in Jolivet : Concerto pour violon / Chausson : Poème, Isabelle Faust (violon), Deutsches Symphonie Orcchester (direction : Marko Letonja) ; 1 CD Harmonia Mundi Classique, 2006.
  • André JOLIVET, Music for flute, comprenant : Chant de Linos pour flûte, harpe et trio à cordes ; Sonate pour flûte et piano ; Cinq Incantations pour flûte ; Suite en concert pour flûte et percussions ; Cabrioles pour flûte et piano ; Eline van Esch (flûte), Eline van Esch Ensemble, 1 CD Etecetera, 2006.
  • André JOLIVET, L’œuvre pour trompette, comprenant : Concertino pour trompette, piano et orchestre à cordes ; Arioso barocco pour trompette et orgue ; Air de bravoure pour trompette et piano ; Heptade pour trompette et percussions ; Concerto pour trompette et orchestre n°2 ; Eric Aubier (trompette), Thierry Escaich (orgue), Didier Vérité (percussions), Orchestre du Théâtre National de l’Opéra de Paris, (direction : Marius Constant), Orchestre Lyrique de région Avigon Provence (direction : Xavier-François Bilger) ; 1 CD Arion, 2005.
  • André JOLIVET, L’œuvre intégrale pour violon, comprenant : Sonate pour violon et piano ; Incantation « Pour que l’image devienne symbole » pour violon ; Suite rhapsodique pour violon ; Concerto pour violon et orchestre ; Devy Erlih (violon), Manabu Sekiya (piano), Orchestre National de France (direction : Marius Constant), 1 CD Lyrinx, 2005.
  • André JOLIVET, Morceaux choisis, comprenant : Concerto pour harpe et orchestre de chambre ; Mana pour piano ; Pastorales de Noël pour flûte, basson et harpe ; Concerto pour ondes Martenot et orchestre ; Concerto pour basson, orchestre à cordes, harpe et piano ; Suite liturgique pour voix, cor anglais prenant le hautbois, violoncelle et harpe ; Cinq Incantations pour flûte : Eglogues pour alto ; Suite rhapsodique pour violon ; Lily Laskine (harpe), Francoise Gobet (piano), Maurice Allard (basson), Jean-Pierre Rampal (flûte), Jean Giraudeau (ténor), Serge Collot (alto), Devy Erlih (violon), Orchestre du Théâtre National de l’Opera de Paris (direction : André Jolivet), Orchestre des Cento Soli (direction : Rudolf Albert) ; 2 CDs Accord, 2005.
  • André JOLIVET, Hymne à Saint-André pour voix et orgue ; Hymne à l’univers pour orgue ; Arioso Barocco pour trompette et orgue ; Mandala pour orgue ; Noctune pour violoncelle et piano ; Daniel Roth (orgue), Dany Barraud (voix), René Périnelli (trompette), Jacqueline Robin (piano), Pierre Pénassou (violoncelle) ; 1 CD Arion, 2005.
  • André JOLIVET, Concerto pour percussions et orchestre ; Tom O’Kelly (percussions), Orchestra Ensemble Kanazawa (direction : Jean-Louis Forestier), 1 CD Warner, 2005.
  • André JOLIVET, Les enregistrements Erato, comprenant : Concertos pour violoncelle et orchestre n°1 et 2 ; Suite en concert pour violoncelle ; Concerto pour harpe et orchestre de chambre ; Concertino pour trompette, piano et orchestre à cordes ; Concerto pour trompette et orchestre n°2 ; Concerto pour ondes Martenot et orchestre ; Heptade pour trompette et percussions ; Arioso barocco pour trompette et orgue ; Concerto pour flûte et orchestre à cordes ; Suite en concert pour flûte et percussions ; Chant de Linos pour flûte, harpe et trio à cordes ; Cinq Incantations pour flûte ; Incantation « Pour que l’image devienne symbole », pour flûte en Sol ; Sérénade pour hautbois, piano et quintette à vent ; Cinq Danses rituelles pour orchestre ; Concerto pour basson et orchestre ; Suite liturgique pour voix, cor anglais prenant le hautbois, violoncelle et harpe ; Poèmes intimes pour voix et piano ; Maurice André (trompette), Jean-Pierre Rampal (flûte, flûte en Sol), Maurice Allard (basson), Lily Laskine (harpe), Jeanne Loriod (ondes Martenot), André Navarra (violoncelle), Mstislav Rostropovitch (violoncelle), Colette Herzog (soprano), Hedwig Bilgram (orgue), Annie d’Arco (piano), Sylvio Gualda (percussions), Quintette Marie-Claire Jamet, Quintette à vent français, Orchestre National de l’ORTF (direction : André Jolivet), Orchestre de l’Association des Concerts Lamoureux (direction : André Jolivet), Orchestre Jean-François Paillard (direction : André Jolivet), Orchestre de l’Opéra de Paris (direction : André Jolivet), Orchestre Philharmonique de Strasbourg (direction : Alain Lombard), Maîtrise de l’ORTF (direction : Jacques Jouineau) ; 4 CDs Warner Classics, 2004.
  • André JOLIVET, Epithalame pour orchestre vocal à 12 parties, in : La Jeune France ; The Sixteen (direction : Harry Christophers) ; 1 CD Coro, 2004.
  • André JOLIVET, Les rarissimes d’André Jolivet, comprenant : Concerto pour flûte et orchestre à cordes ; Concerto pour trompette et orchestre n°2 ; Concerto pour piano et orchestre ; Andante pour cordes ; Suite française pour orchestre ; Rapsodie à sept ; Suite delphique ; Epithalame pour orchestre vocal à 12 parties ; Roger Delmotte (trompette), Fernand Dufrêne (flûte), Lucette Descaves (piano), Ginette Martenot (ondes Martenot), Orchestre du Théâtre des Champs Elysées (direction : Ernest Bour), Orchestre National de l’ORTF (direction : André Jolivet), Chorale « Madrigal » de l’ORTF, Orchestre Colonne (direction : André Jolivet), orchestre de chambre (direction : André Jolivet), 2 CDs EMI Classics France, 2004.
  • André JOLIVET, Trois Complaintes du soldat pour voix et orchestre, in : La France Résistante ; Pierre Bernac (baryton), Orchestre de la Société du Conservatoire de Paris (direction : Charles Münch), 1 CD Cascavelle, 2003.
  • André JOLIVET, L’œuvre pour flûte, comprenant : Cinq Incantations pour flûte ; Petite suite pour flûte pour flûte, alto et harpe ; Pastorales de Noël pour flûte, basson et harpe ; Chant de Linos pour flûte, harpe et trio à cordes ; Concerto pour flûte et orchestre à cordes ; Cabrioles pour flûte et piano ; Fantaisie-caprice pour flûte et piano ; Sonate pour flûte et piano ; Sonatine pour flûte et clarinette ; Alla rustica pour flûte et harpe ; Suite en concert pour flûte et percussions ; Ascèses pour flûte en Sol ; Pipeaubec pour flûte et percussion ; Une minute trente pour flûte et percussion ; Pierre André Valade (flûte), Miguel Dasilva (alto), Henri Lescouret (basson), Roger Muraro (piano), Philippe Cambreling ; 2 CDs Musidisc, 2001 (rééd. en 2002).
  • André JOLIVET, Les Amants magnifiques, in Debussy-Roussel-Jolibet-Ibert-Milhaud ; Orchestre de Cannes Région Provences Alpes Côte-d’Azur (direction : Philippe Bender) ; 1 CD L’Empreinte Digitale, 2001.
  • André JOLIVET, Symphonie n°3, Concerto pour piano et orchestre, Concerto pour violoncelle et orchestre n°1 ; Lucette Descaves (piano), André Navarra (violoncelle), Orchestre National de France (direction : André Jolivet), Orchestre Radio-Symphonique de Strabourg (direction : Ernest Bour), 1 CD Mis, 1999.
  • André JOLIVET, Poèmes pour l’enfant pour voix et onze instruments ; Suite liturgique pour voix, cor anglais prenant le hautbois, violoncelle et harpe ; Pastorales de Noël pour flûte, basson et harpe ; Chant de Linos pour flûte, harpe et trio à cordes ; The Britten-Pears Ensemble ; 1 CD ASV, 1998.
  • André JOLIVET, Klavierwerke-Piano Works, comprenant : Cinq Danses rituelles ; Mana ; Cosmogonie ; Etude sur des modes antiques ; Sonate pour piano n°1 ; Christiane Mathé (piano) ; 1 CD Next Music, 1994.

André JOLIVET, Collection André Jolivet :

  • Tome 1 : Piano, vol. 1, comprenant : Algeria-Tango ; Cosmogonie ; Danses pour Zizou ; Deux mouvements ; El viejo camello;Etude sur des modes antiques;From**Bo Bo;Madia;Mana;Romance barbare;Sarabande**sur le nom d’Erik Satie;Sidi-Ya-Ya ; Pascal Gallet (piano) ; 1 CD Maguelone, 2003.
  • Tome 2 : Mélodies, vol. 1, comprenant : Chanson « La Mule de Lord Bolingbroke » pour voix et piano, Jardins d’hiver pour voix et piano, Le Chant des regrets pour voix et piano, Trois Complaintes du Soldat, pour voix et piano ; Poèmes intimes pour voix et piano ; Prière des treize hommes dans la mine pour voix et piano ; Suite liturgique pour voix, cor anglais prenant le hautbois, violoncelle et harpe ; Trois Poèmes galants pour voix et piano ; Lionel Peintre (baryton ), Christophe Crapez (ténor), Francis Pierre (harpe), Laurent decker (hautbois), Oana Unc (violoncelle), Catherine Cournot (piano) ; 1 CD Maguelone, 2004.
  • Tome 3 : Piano, vol. 2, comprenant : Danses rituelles ; Trois Temps ; Sonate n°2 ; Pascal Gallet (piano), 1 CD Magelone, 2005.
  • Tome 4 : Fanfares pour Britannicus;Concertopour trompette et orchestre n° 2 ;Soir et Défilé;Suite transocéane ; Clément Saunier (trompette), Musique des Gardiens de la Paix de Paris (direction : Philippe Ferro) ; 1 CD Maguelone, 2005.
  • Tome 5 : Piano, vol. 3, comprenant : Concerto pour piano et orchestre ; Sonate pour piano n°1 ; Pascal Gallet (piano), Duisburger Philharmoniker (direction : Jonathan Darlington), 1 CD Maguelone, 2008.

André Jolivet, The Complete flute music :

  • Vol. 1 : Cinq Incantations pour flûte ; Incantation « Pour que l’image devienne symbole », pour flûte en Sol ; Chant de Linos pour flûte et piano ; Sonate pour flûte et piano ; Ascèses pour flûte en Sol ; Manuela Wiesler (flûte), Roland Pontinen (piano) ; 1 CD Bis, 1992.
  • Vol. 2 : Alla rustica pour flûte et harpe ; Chant de Linos pour flûte, harpe et trio à cordes ; Pastorales de Noël pour flûte, basson et harpe ; Concerto pour flûte et orchestre à cordes ; Suite en concert pour flûte et percussion ; Fantaisie-caprice pour flûte et piano ; Cabrioles pour flûte et piano ; Manuela Wiesler (flûte), Erica Goodman (harpe), Patrik Swedrup (violon), Hakan Olsson (alto), Helena Nilsson (violoncelle), Christian Davidsson (basson), Roland Pontinen (piano) ; 1 CD Bis, 1996.

Liens Internet

(lien vérifié en avril 2014).