Edith Canat de Chizy: Times

Aeon: AECD1105

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Edith Canat de Chizy: Times



Catalogue No:




Release date:

13th June 2011




66 minutes


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Edith Canat de Chizy: Times

Complete Orchestral Works

Canat de Chizy:


La Ligne d'ombre




BBC Symphony Orchestra, Orchestre de Besancon Montbeliard Franche-Comte, Nouvel Orchestre Philharmonique, Orchestre Poitou-Charentes & Orchestre National de France, Kazuki Yamada, Michiyoshi Inoue, Peter Csaba & Alain Altinoglu



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Times (2009), La Ligne d’ombre (2004), Yell (1989), Alio (2002), Omen (2006): these five symphonic milestones span twenty years of Edith Canat de Chizy's production, which now includes some fifty vocal and instrumental works composed between the first performance of Yell (15 June 1989) and that of Times, the final test of the 51st Besançon International Competition for Young Conductors (19 September 2009).

These five stages are intentionally recorded here in non-chronological order, the two most recent works framing the previous ones with the earliest at the apogee of the sine curve. This is intended to avoid the classic 'evolutionary' panorama, instead favouring a different approach to a singular sound world where the handling of timbres and the architecture of their combinations takes the listener into terra incognita, on the borders of the unheard-of, inviting him to share his own imaginative universe.

In her works, the paths opened up are so diverse, the offered space so broad that the listener can, without having to 'fill in' anything, let himself go with the flow, drifting at leisure according to his fancy and going beyond the boundaries of the known horizon.

Edith Canat de Chizy: Times


Edith Canat de Chizy: La ligne d'Ombre

La ligne d'Ombre

Edith Canat de Chizy: Yell


Edith Canat de Chizy: Alio


Edith Canat de Chizy: Omen


The Guardian

30th June 2011


“The most impressive works here are the earliest and most recent – Yell and Times, the first very much concerned with planes of sound, with dense textural layers sliding over each other, the later works more concerned with harder-edged musical objects, and a generally sparser sound world.What they and the other pieces have in common is precision; each is a musical discourse that's carefully thought out and lucidly presented.”

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