I have Russian origins and I am bilingual Russian –French. My specialty is Russian music history in all its aspects, from the beginning to nowadays, and more specifically Slavic music and national schools during the 19th and 20th centuries. During my professional stays in Russia in the early 1990’s, while I was working on my book about Tchaikovsky (published in 1993, Fayard), I had access to hand-written piece of work. I am the first foreign musicologist to get that chance. I am still in touch with my Russian colleagues who keep me informed about new Russian publications.
As I am a musicologist and Russian speaker, I have connections with famous Russian teachers and the Institut d’Etudes Slaves where I did some performances. Within Russian musical history, I am interested in a view of Russian civilization which puts music in its center because music constitutes the heart of the Russian heritage (history, popular imagination, literature, and fine arts) as well as a good base for a comparative study of music evolution in Western countries and Slavic ones. In this way, Franco-Russian cultural relationships are naturally privileged.
Thanks to my musical education, my radio experience and my eight years as artistic director for a record label, I have developed my interest in musical interpretation history. And this is the strong suit of the RASM Laboratory. In L3, I give a comparative criticism class based on classical music recordings, which I have never seen elsewhere and according to former students is an advantage in professional life. I have participated in colloquia held at the University of Evry, among which “Interprétation pianistique au XXe siècle : méthode, analyse, réception,” (May, 2003; proceedings published in Cahier Arts et science de l’Art), “Réception et modernité de Schumann,” (November, 2007; proceedings to be published) and “L’ingénierie musicale,” (January, 2009; proceedings to be published), and was the organizer of the “Compositeurs entre quatre éléments: pour une approche bachelardienne de la musique” colloquium (November, 2012; in tribute to the 50th anniversary of Gaston Bachelard’s death).
In charge of: First-year student orientation days for the Music department.
- Guide de l’opéra russe, 778 p. (Fayard , 2017). Prix de la Critique professionnelle de théâtre et musique (2017) ; Prix Georges Bizet (2017), Prix René Dumesnil de l’Académie des Beaux-arts (2017)
- Soirée musicale dans le cadre du Colloque pluridisciplinaire Eau, Santé et Environnement, Evry, Campus de Télécom Ecole de Management & Télécom SudParis, 8 juin 2017, http://www.evry-sc-innov.fr/colloques/eau/programme.pdf
- Autour de traductions de lettres de Tchaïkovski, à la faculté de russe de l’Université de Bordeaux-Montaigne, le 16 novembre 2016.
- La musique en Russie depuis 1850, Fayard-Mirare 2012.
- Nikolaï Rimski-Korsakov, Chronique de ma vie musicale, translated, introduced annotated by André Lischke, Fayard, Paris, 2008, 454 p.
- Histoire de la musique russe, des origines à la Révolution, Fayard, Paris, 2006, 792 p. (Prix Marmottan de l’Académie des Beaux-Arts 2007)
- L’Harmonie des peuples, Fayard, 2006
- Les écrivains et les poètes de Prokofiev, in L’oeuvre vocale et dramatique de Prokofiev, sous réd. W.Zidaric, Paris, Le Manuscrit, 2005, p.35-48 (Proceedings of the Prokofiev colloquium are at the Universit of Evry on November 20th and 21th, 2003).
- Alexandre Borodine, Paris, Bleu Nuit, 2004, 175 p.
- Manfred Kelkel exégète de Scriabine, in Le Dessous des notes, path to esosthetic, tribute to professor Manfred Kelkel, sous réd. Jean-Jacques Velly, Presses de Paris-Sorbonne University, 2001, p.263-268.
- Tchaikovski au miroir de ses écrits, Fayard, 1996, 434 p.
- Piotr Ilyitch Tchaikovski, Fayard, 1993 (Prix des Muses, Prix de l’Académie Charles, Cros, Prix de la critique, Prix Kastner-Boursault de l’Académie des Beaux-Arts), 1132 p.
L1 Musicology: History of music. Period: 1750 to the early 20th century. Listening commentary
L2 Musicology: Listening commentary
L3 Musicology: Artist and performance, Great musical forms, Opera and stage music
L3 Performance (Spectacles): Opera and imaginary world
M1 (Artistic Engineering and Music Administration): Theory and practical program
M1 Artistic Engineering: Works and World
UEL: Russian civilization
From 1998 to 2010: teacher of a musicology class in la Maison de Radio-France for sound technicians (directors of photography, production assistants, and broadcaster musicians). These classes, offered as part of in-service training, proposed a glimpse of music history, a training to read sheet music and analyze musical work. This enables technicians to be more comfortable in their collaborations with musicians.
I did some performances in musical culture classes at the Conservatoire National Supérieur de Musique de Paris (Paris Conservatory), in the Slavic department of the University of Geneva and many conferences during various occasions (concert presentations, a lot of opera presentations particularly with “Les Amitiés lyriques” association…).
Journalism, music critic in many reviews (Lyrica, Diapason, L’Avant-Scène Opéra).
Conferences about music in France and abroad (Switzerland, Germany, Russia).
From 1989 to 1997: classic music director for Le Chant du Monde record company.
Musical education: piano, organ, choir, composition, orchestra conducting
Musicology: musical history and esthetics at la Schola Cantorum (Teacher: Michel Guiomar), graduated in 1974.
Music history in upper class at the Conservatoire de Paris (Teacher: Norbert Dufourcq, Yves Gérard), first prize in 1977.
First prize of musicology in 1979, dissertation “L’oeuvre dramatique de Rimski-Korsakov, aspects du langage et de la technique”. Director : Mr Yves Gérard. Examining board: Mrs. Suzanne Moisson-Franckhauser, Mr. Henry Barraud, and Mr. Vladimir Jankélévitch.
PhD in musicology at Paris-Sorbonne IV University (in February 1997), “Tchaikovski au miroir de ses écrits”. PhD advisor: Mr. Manfred Kelkel. Examining board: Mr. Michel Aucouturier, Mr. Michel Aucouturier, Mr. Joseph-François Kremer and Mr. Joël-Marie Fauquet.