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La lumière extrême: vers de nouveaux apports fondamentaux et appliqués
Comment reproduire à notre échelle, des phénomènes se produisant au cœur du soleil pour développer des applications très prometteuses dans des domaines aussi divers que la santé, l'industrie, la sécurité?
L'exploration de la physique des nouveaux états de la matière conduit souvent au développement de nouvelles technologies et de nouvelles approches pour relever les grands défis de société. La compression d'un plasma –« gaz très chaud » dans lequel les électrons circulent librement– par une impulsion laser à des températures et densités élevées (conditions similaires à celles rencontrées au centre du soleil) est à l'étude dans le but de réaliser la fusion thermonucléaire contrôlée.
La génération et le contrôle de champs électriques dans un plasma chaud excité par laser, font actuellement l'objet d'études prometteuses pour la production d'accélérateurs compacts. Les propriétés uniques des particules énergétiques et des radiations (rayons X, rayons gamma) qui en résultent (basées principalement sur leur durée d'impulsion) devraient avoir de nombreuses applications, notamment dans les soins de santé (imagerie et oncologie), l'industrie (imagerie) et la sécurité (détection de matériel illicite). Les progrès rapides de la technologie laser à haute puissance qui permettent nombre de ces développements, résultent de la technique d'amplification pulsée par impulsions (Chirped Pulse Amplification), mise au point par Gérard Mourou et Donna Strickland au milieu des années 1980 et pour lequel le prix Nobel de physique 2018 a été en partie attribué.
Au cours des deux ou trois prochaines années, des lasers de très haute puissance (« lumière extrême ») tels que APOLLON (France) et Extreme Light Infrastructure, ELI (République tchèque, Hongrie et Roumanie, 800M€), seront opérationnels. Les intensités laser qui en résultent ouvrent de nouveaux régimes d'interactions laser-plasma, permettant de reproduire en laboratoire des phénomènes astrophysiques extrêmes, telle que la génération d'antimatière ou bien encore de tester des théories fondamentales ainsi que d'ouvrir de nouveaux horizons pour des applications futures.
Rémi Capdessus
Je suis physicien théoricien en physique des plasmas, où j'étudie des phénomènes générés par l'interaction d'un plasma avec une impulsion laser ultra-intense. J'ai effectué mes études de physique à l'université de Bordeaux ainsi que mon doctorat, reçu en Novembre 2013. Depuis Janvier 2014, je suis chercheur (« post-doc ») à l'université de Strathclyde au sein d'une équipe d'expérimentateurs. Mes recherches de nature théorique et numérique portent sur l'étude sur phénomènes de haute énergie dont les signatures résultantes pourront être observées avec la prochaine génération de lasers. Je suis aussi impliqué sur des travaux expérimentaux portant sur une « physique similaire », à plus basse énergie.
Détails :
jeudi 7 février à 19 h
Alliance Française de Glasgow
3 Park Circus, Glasgow G3 6AX
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The last time Jean Rondeau came in Edinburgh was in August 2016 for a concert organized by the Friends of St Cecilia’s Hall.
More than two years later, Jean Rondeau come back in Edinburgh in order to participate at the first edition of Harpsichord en fête
Biography:
Jean Rondeau studied harpsichord with Blandine Verlet for over ten years, followed by training in basso continuo, organ, piano, jazz and improvisation, and conducting. He pursued further studies at the Conservatoire National Supérieur de Musique in Paris, graduating with honours, and the Guildhall School of Music and Drama in London.
In 2012, at just 21 years old, he became one of the youngest performers ever to take First Prize at the International Harpsichord Competition in Bruges (MAfestival 2012), also winning the EUBO Development Trust prize; an accolade bestowed on the most promising young musician of the European Union. The same year, he claimed second place in the Prague Spring International Harpsichord Competition (64th edition of the Festival, 2012), along with a nod for the best interpretation of the contemporary piece composed specially for that contest. In 2013, he also won the Prix des Radios Francophones Publiques.
Rondeau is in demand for solo, chamber music and orchestral appearances throughout Europe and in the United States. He frequently performs with the Baroque quartet Nevermind. Quite apart from his activities as harpsichordist, he founded the ensemble Note Forget, presenting his own jazz-oriented compositions and improvisations on piano.
Rondeau is signed to Erato as an exclusive recording artist. His debut album of music by J.S. Bach, Imagine, was released in January 2015 and received the Choc de Classica and Prix Charles Cros. The second recording on Erato, Vertigo, saw Rondeau pay tribute to two Baroque composers from his native France: Jean-Philippe Rameau and Pancrace Royer. In 2017, Jean Rondeau recorded Dynastie, which explores keyboard concertos by Bach&Sons. In 2016 he composed his first original score for a film,Christian Schwochow’s Paula, which premiered at the 2016 Locarno Film Festival. Last October, Jean Rondeau recorded his last album Scarlatti, Sonatas in which he selected 15 sonatas among the 555 of Scarlatti’s work. 
(photo credit: Shura Rusanova)
Programme:
First Half
Johann Jakob Froberger (1616 - 1667)
Toccata II in D minor
John Dowland (1563 - 1626)
Lachrimae Antiquae
Lachrimae Verae
William Byrd (1538 - 1523)
Corento
John Bull (1562 - 1628)
In Nomine
Girolamo Frescobaldi (1583 - 1643)
Toccata Prima in G minor (Libro I)
Johann Jakob Froberger (1616 - 1667)
Tombeau sur la mort de Monsieur de Blancrocher in C minor
Second Half
Jean-Philippe Rameau (1683 - 1764)
Prélude en la mineur
François Couperin (1668 - 1733)
L'Art de toucher le clavecin : Premier Prélude en Do Majeur
La Ténébreuse (Allemande)
La Lugubre (Sarabande)
La Favorite (Chaconne à deux tems - Rondeau)
Johann Sebastian Bach (1685 - 1750)
Chaconne from the Violin Partita n°2 in D minor BWV 1004
Event details:
Jean Rondeau
Tuesday 12th March
7.00pm - 8.30pm
Price
£15 / £12 (IFE member + student, unemployed person, retired person, handicapped person)
Tickets available soon
Location
The Sypert Concert Room
St Cecilia’s Hall
50 Niddry Street
Edinburgh EH1 1LG
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L’ Institut français is really honored to welcome Jan Waterfield and László Rózsa for a recital on the French Chamber Music from the Early Eighteenth Century
Biography:
Jan Waterfield read music at Girton College, Cambridge, where she was also a choral scholar. This was followed by postgraduate studies in harpsichord and piano with John Toll and David Willison at the RAM in London, where she won prizes for both lieder accompaniment and continuo playing. After graduating from the RAM, she was a member of the prestigious European Union Baroque Orchestra, working alongside Jaap ter Linden and Andrew Manze. Jan has been a member of Paul McCreesh’s Gabrieli Consort since 1993, taking part in their many award-winning projects. Since 2009 she has been their principal harpsichordist and was a major player (both as organist and researcher) in their recent disc ‘A New Venetian Coronation’, the recipient of a 2013 gramophone award. She is also a regular player with the Academy of Ancient Music, the Classical Opera Company, His Majesty’s Sagbutts and Cornetts, La Serenissima, the Scottish Ensemble, the Scottish Chamber Orchestra and Ludus Baroque. She was a contributor to John Eliot Gardiner’s Bach Cantata pilgrimage of 2000 – the extraordinary series of live recordings made from a year’s journey through Europe, performing the whole cycle of Bach’s church cantatas. Her solo highlights range from recording the complete virginals works of Martin Peerson to playing Gorecki’s concerto for amplified harpischord live from London’s Wigmore Hall on BBC R3. Jan has been active as a teacher at the Britten-Pears School in Aldeburgh, the Guildhall School in London, the Academie Baroque Européene in France as well as both Heriot-Watt and Edinburgh Universities and the Royal Conservatoire of Scotland. Her experience as a vocal coach results in a steady stream of singers beating a path to her door. She is a regular duo partner of the soprano Mhairi Lawson, the bass Brian Bannatyne-Scott and the ‘cellist Christopher Suckling. She can sometimes be found playing the accordion with the klezmer group ‘Kleyne Klezmer’. “ highlights include the gentle warmth of Jan Waterfield’s organ playing” (BBC Music magazine, 2012) “wonderfully delicate chamber organ solos, played by Jan Waterfield” (Bachtrack 2012)
László Rózsa was born in Budapest in 1989, where he began his musical education. At the age of fifteen he entered the Universität für Musik und darstellende Kunst in Vienna, where he pursued preparatory studies with Helge M. Stiegler. He continued his studies with Peter Holtslag at the Hochschule für Musik und Theater, Hamburg and later on at the Royal Academy of Music in London, where he graduated with distinction in 2013. As a soloist and chamber musician he enjoys a varied freelance career both in the UK and abroad, sharing the platform with distinguished musicians such as Michael Chance, John Butt, and Jan Waterfield, and performing with leading early music ensembles including the Dunedin Consort, Spiritato, and Oxford Baroque. László has performed numerous times on BBC Radio 3, and was recently selected into their Introducing Artist programme. He appears on albums published by Veterum Musica, Resonus Classics and Linn Records. Besides performing, he is a keen educator, currently teaching at the Royal Conservatoire of Scotland and the University of Glasgow. He has also taught and led workshops at the Royal Academy of Music and the University of York. As a result of a growing interest in musicological research, László is currently undertaking a PhD course at the University of Glasgow under the joint supervision of John Butt and David McGuinness which is generously supported by a scholarship from the Arts and Humanities Research Council.
Description:
From the second half of the seventeenth to the beginning of the eighteenth century, two starkly contrasting national styles set the musical tone of continental Europe. On one side stood the French taste, filled with graceful elegance and majestic gestures, and on the other, the rival Italian, characterised by adventurous flamboyance and piquant harmonies. In 1702 the scholarly priest, François Raguenet, published a seminal treatise on how these two styles compare, and in this context, he portrayed French music as something that flatters, tickles and courts the ears. This description was certainly suitable in the early 1700s, however, as twilight began to set on the Sun King, Louis XIV’s absolutist reign, the purity of the French style began to vanish step by step. A new generation of composers flourished, many of them keen consumers of Italian music, and in 1724 François Couperin published a work with symbolic relevance, Les goûts-réunis, or the styles reunited. In our present programme we explore how this intertwining of tastes came to place and gained prominence throughout the following decades of the century.
Programme:
Francois Couperin (1688-1733)
Second concert in D major for recorder and basso continuo (Concerts Royaux, 1722)
Prélude. Gracieusement – Allemande fuguée. Gayement – Air tendre – Air Contre fugé. Vivement – Échos. Tendrement
Elisabeth Jacquet de la Guerre (1665-1725)
Suite in D minor for harpsichord (Pièces de Clavecin, 1687)
Prélude – Allemande – Cannaris – Chaconne L'Inconstante
Jacques Martin Hotteterre (1673-1763)
Suite No. 3 in G major for recorder and basso continuo (Premier Livre de Pieces, 1708/1715)
Allemande. La Cascade de St. Cloud – Sarabande. La Guimon – Courante. L'Indifferente & Double – Rondeau. La Plaintif – Menuet. Le Mignon – Gigue. L'Italienne
Antoine Forqueray (1672-1745)
La Marelle & La Clément for harpsichord (Pièces de Clavecin, 1747)
Michel Blavet (1700-1768)
Sonata No. 2 in D minor for recorder and basso continuo (Troisieme Livre de Sonates, 1740)
Andante e spicato – Allegro – Minuetto. Variatione I-II
Event details:
FLATTER, TICKLE & COURT THE EAR? French Chamber Music from the Early Eighteenth Century
Sunday 10th March
7.00pm - 8.15pm
Price
£15 / £12 (IFE member + student, unemployed person, retired person, handicapped person)
Tickets available soon
Location
Salle Moreau-Evrard
Institut français d'Ecosse
West Parliament Square
Edinburgh EH1 1RF
For the 2nd night of Harpsichord en fête, l'Institut français present you “Music for two harpsichords” perform by David Gerrard and John Kitchen
Biography:
David Gerrard read Music at Oxford, before studying Early Keyboard Performance at the University of Edinburgh where he is now undertaking doctoral research (generously funded by the Arts and Humanities Research Council). David is also a Tutor in the University’s Reid School of Music where he teaches harmony and counterpoint, performance studies and music history. In demand as a continuo harpsichordist and organist, David has performed at home and abroad with both modern and period instrument groups including Dunedin Consort, Ludus Baroque, London Mozart Players, Scottish Chamber Orchestra and the Royal Northern Sinfonia. With past experience working as a harpsichord technician and restorer, he has begun building early keyboard instruments.
John Kitchen is an Honorary Fellow in the Reid School of Music, the University of Edinburgh. He is University Organist and is much involved with the Collections of Early Keyboard Instruments at St Cecilia’s. John is also Director of Music at Old Saint Paul’s Episcopal Church and Edinburgh City Organist with performing and curatorial duties at the Usher Hall. He gives many solo recitals both in the UK and further afield, and also plays regularly with several ensembles, covering a wide range of musical styles. In addition, he is much in demand as a continuo player, accompanist, lecturer, writer, adjudicator, reviewer and recording artist. He has recorded for Delphian Records most of the working instruments in the University Collections.
Description:
John Kitchen and David Gerrard present an international programme of music performed on two harpsichords, contrasting the suites of Louis Couperin with a programmatic sonata by his nephew François Couperin, along with works spanning the career of J.S. Bach, from his youthful arrangement of a concerto by Vivaldi to the Musical Offering.
Programme:
J.S. Bach
Concerto after Vivaldi, BWV 972
François Couperin
La Steinquerque, sonate en trio
Louis Couperin
Suite in A major
Bach
Prelude and Fugue in G major, BWV 541 Ricercar a 6, BWV 1079
L. Couperin
Suite in F major
Event details:
Music for two harpsichords
Friday, 8 March
7.00pm - 8.40pm
Price
£15 / £12 (IFE member + student, unemployed person, retired person, handicapped person)
Tickets available soon
Location
Salle Moreau-Evrard
Institut français d'Ecosse
West Parliament Square
Edinburgh EH1 1RF
The Institut français d'Ecosse presents Edinburgh’s first-ever international harpsichord festival: Harpsichord en fête.
From March 7th to the 12th, we invite you to participate in a week-long celebration of the harpsichord and baroque music.
We are honoured to welcome local greats as well as international harpsichord superstars to perform 5 concerts over 6 nights. The talent includes Jean Rondeau, Paolo Zanzu, Le Stagioni, David Gerrard, John Kitchen, Jan Waterfield and László Rózsa.
The festival will also be a moment of discovery and learning, with a series of talks and workshops held at the Institut exploring musical techniques and the influence of this storied instrument.
Concerts will be held at the Institut français d'Ecosse and at our festival partner, St Cecilia’s Hall, The University of Edinburgh.
Recitals programme:
Paolo Zanzu
The Sypert Concert Room, St Cecilia’s Hall
Thursday, 7 March, 19:00
£15/£12 (conc.)
David Gerrard and John Kitchen
John Kitchen and David Gerrard : Music for two harpsichords
Salle Moreau-Evrard, Institut français
Friday, 8 March, 19:00
£15/£12 (conc.)
Le Stagioni
The Sypert Concert Room, St Cecilia’s Hall
Saturday, 9 March, 19:00
£15/£12 (conc.)
Jan Waterfield and László Rózsa
FLATTER, TICKLE & COURT THE EAR?
Salle Moreau-Evrard, Institut français
Sunday, 10 March, 19:00
£15/£12 (conc.)
Jean Rondeau
The Sypert Concert Room, St Cecilia’s Hall
Tuesday, 12 March, 19:00
£15/£12 (conc.)
Conferences and workshops programme:
Of Scottishness in Baroque music: national style and European influences
Tiam Goudarzi
Salle Moreau-Evrard, Institut français
Saturday, 9 March, 16:30
£5/£3 (conc.)
Basse continue
Jan Waterfield
Salle Moreau-Evrard, Institut français
Sunday, 10 March, 15.00
£5/£3 (conc.)
Harpsichord Improvisation Competition
Carlos Zapata Carratala
Institut français
Sunday, 10 March, 16.30
Free
The history of the franco-flemmish harpsichord
Grant O’ Brien
Salle Moreau-Evrard, Institut français
Tuesday, 12 March, 16.30
£5/£3 (conc.)
More information and tickets available soon
