La Chapelle Saint-frambourg - 60300 Senlis - Location de salle - Oise 60
Location de salle 60300 Senlis, Oise, Picardie
Merci d'informer la salle La Chapelle Saint-frambourg que vous l'avez connue par ABC Salles !
Coordonnées : Fondation Cziffra , Téléphone : 06 88 88 04 76
Adresse : 1, place Saint Frambourg 60300 SENLIS
La salle La Chapelle Saint-frambourg est référencée sur
Nous acceptons les événements professionnels
Nous acceptons les événements de particuliers
Capacité maximale debout : 500
Capacité maximale assis : 450
Plus d'infos sur :
Senlis... Cziffra, Miro, notes et vitraux
28 septembre 1979
La chapelle St Frambourg, première étape dans la création de la Fondation CZIFFRA à Senlis, s'est enrichie de vitraux dessinés par MIRO et réalisés par le maître verrier Charles MARQ. Gyorgy CZIFFRA et Charles MARQ expliquent comment ces vitraux ont été réalisés. Le musicien raconte son enfance difficile et parle de cette fondation pour laquelle il a donné beaucoup de son temps. Avec la particiaption de Madame CZIFFRA, de Georges LEVY, secrétaire général de la fondationMme AVON CAMPANA qui a offert un tryptique à la fondation explique comment elle l'a réalisé. Gyorgy CZIFFRA auditionne le jeune prodige Frédéric AGUESSY. Interview à Palma de Majorque dans son atelier de Joan MIRO. Images d'archive INA
Institut National de l'Audiovisuel
Abonnez-vous
senlis 29042015 à vendre
La fondation Cziffra risque de quitter la Chapelle Saint-Frambourg, le bâtiment va être mis en vente. Son entretien coûte trop cher aux héritiers. Ils ont jusqu’au 31 juin pour trouver un mécène.
Éléonore Darmon et Éric Astoul jouent Tchaikovsky Souvenir d'un Lieu Cher op. 42 (complet)
TCHAIKOVSKI : Souvenir d'un Lieu Cher op. 42
Méditation, Scherzo, Mélodie
avec Éléonore Darmon, violon
et Éric Astoul, piano
Concert du 9 novembre 2013 au Festival SenLiszt
Fondation Cziffra, Chapelle Royale Saint-Frambourg, Senlis, France
Captation vidéo : Vincent Bérczi.
Avec l'aimable autorisation de la Fondation Cziffra
eleonoredarmon.com
astoul.com
Saint-Saëns, Danse Macabre, 2 pianos, 8 mains.
Danse Macabre de Saint-Saëns dans la transcription pour deux pianos huit mains de E. Guiraud, enregistrée en répétition et en concert au Festival SenLiszt 2013.
Fondation Cziffra, Chapelle Royale Saint-Frambourg, Senlis, France, le samedi 9 novembre 2013.
Isabelle Oehmichen et Gérard-Marie Fallour, premier piano, Eric Astoul et Maxime Zecchini, second piano.
Captation: Vincent Bérczi.
Avec l'aimable autorisation de la Fondation Cziffra.
Liszt Transendental Etude No 8 Wilde Jagd Cziffra Rec 1959.
A remarkable prodigy, Gyorgy Cziffra ( 1921-1994) received tuition from his father, and by the age of five was improvising in public. His family was extremely poor and performances at the local circus benefited the family income. Fortunately, at the age of nine Cziffra entered the Franz Liszt Academy in Budapest studying with Ernő Dohnányi. By the age of twelve Cziffra was again performing in public, giving concerts in many of Hungary's principal cities. In 1937 he played in Holland and Scandinavia but was conscripted into the army in the autumn of 1942. His unbearable treatment is chronicled in his autobiography Cannons and Flowers. Worse was to follow when he was captured and taken prisoner. Of this period he wrote, 'Looking back from afar over that period of my life, I can take a more balanced view of the ravages of that hideous cancer of the mind which grew perniciously until it almost transformed me into a living corpse.' The privations were intolerable, but worse was the fact that Cziffra did not see a piano for this whole nightmare period of his life.
Having married at nineteen and left a pregnant wife when he joined the army, on returning to Hungary in 1947 Cziffra had to play the piano in bars and clubs to support his wife and son. He improvised at these venues and on one occasion was heard by György Ferenczy, a well-known piano teacher, who encouraged him to study and practise. As much as twelve hours a day was spent working at the keyboard with the prospect of the evening work at a club or bar to follow. By 1950 Cziffra and his family decided to leave Hungary for better prospects in the West, but his plan was discovered and he was again imprisoned, this time for his political beliefs. Amazingly, he survived three years of heavy manual labour, separated both from his family and the piano. In 1953 he was released and again began playing. Two years later he won the Franz Liszt International Piano Competition in Budapest and the following year Cziffra and his family escaped to Vienna where he gave a concert in November 1956. A few weeks later he was causing a sensation in Paris and London, almost overnight becoming a celebrity.
Cziffra settled with his family in France, eventually taking French citizenship and changing his name to Georges. He began the restoration of the organ of the Abbey of La Chaise-Dieu in the Auvergne, later founding a festival there, and set up the Cziffra Foundation, the main aim of which was to restore the Chapelle Royale de Saint-Frambourg at Senlis and support young artists. In 1973 Cziffra bought the Chapelle with his own money and created the Franz Liszt auditorium, financing this by undertaking a long series of concerts. In 1969 at Versailles Cziffra organised an international piano competition bearing his name and from 1986 he gave classes in advanced piano playing at Senlis. Toward the end of his career he gave few concerts, perhaps only six or seven a year, devoting his time to the Foundation; although in 1984 he played in Los Angeles, San Francisco and Toronto. A final tragedy in Cziffra's life was the death of his son György (1942--1981) who was killed in a fire. Father and son had performed and recorded many times together as György junior was a conductor.
Cziffra's pianism was unique. He had a technique with hair-trigger reactions that allowed him to accomplish things at the keyboard that sounded physically impossible. It was not an effortless virtuosity; certain phrases could be driven with an extraordinary white-hot surge of power giving the feeling that Cziffra was often pushing himself to his limit. He will be forever associated with the works of Liszt, and he is one of the few pianists with the sheer bravura to give a convincing performance of works such as the Grand galop chromatique. When listening to this recording one can sense how Liszt himself drove his audiences into paroxysms of delight and wonder. After the 1960s some of the incandescence faded from Cziffra's performances, and the recordings from the 1970s and 1980s have a certain air of aridity about them, but in his prime Cziffra was one of the most extraordinary pianists of the twentieth century.
Jonathon Summers
Liszt Transcendental Etude No 4 Mazeppa Cziffra Rec 1959.
A remarkable prodigy, Gyorgy Cziffra ( 1921-1994) received tuition from his father, and by the age of five was improvising in public. His family was extremely poor and performances at the local circus benefited the family income. Fortunately, at the age of nine Cziffra entered the Franz Liszt Academy in Budapest studying with Ernő Dohnányi. By the age of twelve Cziffra was again performing in public, giving concerts in many of Hungary's principal cities. In 1937 he played in Holland and Scandinavia but was conscripted into the army in the autumn of 1942. His unbearable treatment is chronicled in his autobiography Cannons and Flowers. Worse was to follow when he was captured and taken prisoner. Of this period he wrote, 'Looking back from afar over that period of my life, I can take a more balanced view of the ravages of that hideous cancer of the mind which grew perniciously until it almost transformed me into a living corpse.' The privations were intolerable, but worse was the fact that Cziffra did not see a piano for this whole nightmare period of his life.
Having married at nineteen and left a pregnant wife when he joined the army, on returning to Hungary in 1947 Cziffra had to play the piano in bars and clubs to support his wife and son. He improvised at these venues and on one occasion was heard by György Ferenczy, a well-known piano teacher, who encouraged him to study and practise. As much as twelve hours a day was spent working at the keyboard with the prospect of the evening work at a club or bar to follow. By 1950 Cziffra and his family decided to leave Hungary for better prospects in the West, but his plan was discovered and he was again imprisoned, this time for his political beliefs. Amazingly, he survived three years of heavy manual labour, separated both from his family and the piano. In 1953 he was released and again began playing. Two years later he won the Franz Liszt International Piano Competition in Budapest and the following year Cziffra and his family escaped to Vienna where he gave a concert in November 1956. A few weeks later he was causing a sensation in Paris and London, almost overnight becoming a celebrity.
Cziffra settled with his family in France, eventually taking French citizenship and changing his name to Georges. He began the restoration of the organ of the Abbey of La Chaise-Dieu in the Auvergne, later founding a festival there, and set up the Cziffra Foundation, the main aim of which was to restore the Chapelle Royale de Saint-Frambourg at Senlis and support young artists. In 1973 Cziffra bought the Chapelle with his own money and created the Franz Liszt auditorium, financing this by undertaking a long series of concerts. In 1969 at Versailles Cziffra organised an international piano competition bearing his name and from 1986 he gave classes in advanced piano playing at Senlis. Toward the end of his career he gave few concerts, perhaps only six or seven a year, devoting his time to the Foundation; although in 1984 he played in Los Angeles, San Francisco and Toronto. A final tragedy in Cziffra's life was the death of his son György (1942--1981) who was killed in a fire. Father and son had performed and recorded many times together as György junior was a conductor.
Cziffra's pianism was unique. He had a technique with hair-trigger reactions that allowed him to accomplish things at the keyboard that sounded physically impossible. It was not an effortless virtuosity; certain phrases could be driven with an extraordinary white-hot surge of power giving the feeling that Cziffra was often pushing himself to his limit. He will be forever associated with the works of Liszt, and he is one of the few pianists with the sheer bravura to give a convincing performance of works such as the Grand galop chromatique. When listening to this recording one can sense how Liszt himself drove his audiences into paroxysms of delight and wonder. After the 1960s some of the incandescence faded from Cziffra's performances, and the recordings from the 1970s and 1980s have a certain air of aridity about them, but in his prime Cziffra was one of the most extraordinary pianists of the twentieth century.
Jonathon Summers
Liszt Transcendental Etudes No 1 Preludio & 2 Fusees Cziffra
A remarkable prodigy, Gyorgy Cziffra ( 1921-1994) received tuition from his father, and by the age of five was improvising in public. His family was extremely poor and performances at the local circus benefited the family income. Fortunately, at the age of nine Cziffra entered the Franz Liszt Academy in Budapest studying with Ernő Dohnányi. By the age of twelve Cziffra was again performing in public, giving concerts in many of Hungary's principal cities. In 1937 he played in Holland and Scandinavia but was conscripted into the army in the autumn of 1942. His unbearable treatment is chronicled in his autobiography Cannons and Flowers. Worse was to follow when he was captured and taken prisoner. Of this period he wrote, 'Looking back from afar over that period of my life, I can take a more balanced view of the ravages of that hideous cancer of the mind which grew perniciously until it almost transformed me into a living corpse.' The privations were intolerable, but worse was the fact that Cziffra did not see a piano for this whole nightmare period of his life.
Having married at nineteen and left a pregnant wife when he joined the army, on returning to Hungary in 1947 Cziffra had to play the piano in bars and clubs to support his wife and son. He improvised at these venues and on one occasion was heard by György Ferenczy, a well-known piano teacher, who encouraged him to study and practise. As much as twelve hours a day was spent working at the keyboard with the prospect of the evening work at a club or bar to follow. By 1950 Cziffra and his family decided to leave Hungary for better prospects in the West, but his plan was discovered and he was again imprisoned, this time for his political beliefs. Amazingly, he survived three years of heavy manual labour, separated both from his family and the piano. In 1953 he was released and again began playing. Two years later he won the Franz Liszt International Piano Competition in Budapest and the following year Cziffra and his family escaped to Vienna where he gave a concert in November 1956. A few weeks later he was causing a sensation in Paris and London, almost overnight becoming a celebrity.
Cziffra settled with his family in France, eventually taking French citizenship and changing his name to Georges. He began the restoration of the organ of the Abbey of La Chaise-Dieu in the Auvergne, later founding a festival there, and set up the Cziffra Foundation, the main aim of which was to restore the Chapelle Royale de Saint-Frambourg at Senlis and support young artists. In 1973 Cziffra bought the Chapelle with his own money and created the Franz Liszt auditorium, financing this by undertaking a long series of concerts. In 1969 at Versailles Cziffra organised an international piano competition bearing his name and from 1986 he gave classes in advanced piano playing at Senlis. Toward the end of his career he gave few concerts, perhaps only six or seven a year, devoting his time to the Foundation; although in 1984 he played in Los Angeles, San Francisco and Toronto. A final tragedy in Cziffra's life was the death of his son György (1942--1981) who was killed in a fire. Father and son had performed and recorded many times together as György junior was a conductor.
Cziffra's pianism was unique. He had a technique with hair-trigger reactions that allowed him to accomplish things at the keyboard that sounded physically impossible. It was not an effortless virtuosity; certain phrases could be driven with an extraordinary white-hot surge of power giving the feeling that Cziffra was often pushing himself to his limit. He will be forever associated with the works of Liszt, and he is one of the few pianists with the sheer bravura to give a convincing performance of works such as the Grand galop chromatique. When listening to this recording one can sense how Liszt himself drove his audiences into paroxysms of delight and wonder. After the 1960s some of the incandescence faded from Cziffra's performances, and the recordings from the 1970s and 1980s have a certain air of aridity about them, but in his prime Cziffra was one of the most extraordinary pianists of the twentieth century.
Jonathon Summers
Liszt Transcendental Etude No 7 Eroica Cziffra Rec 1959
A remarkable prodigy, Gyorgy Cziffra ( 1921-1994) received tuition from his father, and by the age of five was improvising in public. His family was extremely poor and performances at the local circus benefited the family income. Fortunately, at the age of nine Cziffra entered the Franz Liszt Academy in Budapest studying with Ernő Dohnányi. By the age of twelve Cziffra was again performing in public, giving concerts in many of Hungary's principal cities. In 1937 he played in Holland and Scandinavia but was conscripted into the army in the autumn of 1942. His unbearable treatment is chronicled in his autobiography Cannons and Flowers. Worse was to follow when he was captured and taken prisoner. Of this period he wrote, 'Looking back from afar over that period of my life, I can take a more balanced view of the ravages of that hideous cancer of the mind which grew perniciously until it almost transformed me into a living corpse.' The privations were intolerable, but worse was the fact that Cziffra did not see a piano for this whole nightmare period of his life.
Having married at nineteen and left a pregnant wife when he joined the army, on returning to Hungary in 1947 Cziffra had to play the piano in bars and clubs to support his wife and son. He improvised at these venues and on one occasion was heard by György Ferenczy, a well-known piano teacher, who encouraged him to study and practise. As much as twelve hours a day was spent working at the keyboard with the prospect of the evening work at a club or bar to follow. By 1950 Cziffra and his family decided to leave Hungary for better prospects in the West, but his plan was discovered and he was again imprisoned, this time for his political beliefs. Amazingly, he survived three years of heavy manual labour, separated both from his family and the piano. In 1953 he was released and again began playing. Two years later he won the Franz Liszt International Piano Competition in Budapest and the following year Cziffra and his family escaped to Vienna where he gave a concert in November 1956. A few weeks later he was causing a sensation in Paris and London, almost overnight becoming a celebrity.
Cziffra settled with his family in France, eventually taking French citizenship and changing his name to Georges. He began the restoration of the organ of the Abbey of La Chaise-Dieu in the Auvergne, later founding a festival there, and set up the Cziffra Foundation, the main aim of which was to restore the Chapelle Royale de Saint-Frambourg at Senlis and support young artists. In 1973 Cziffra bought the Chapelle with his own money and created the Franz Liszt auditorium, financing this by undertaking a long series of concerts. In 1969 at Versailles Cziffra organised an international piano competition bearing his name and from 1986 he gave classes in advanced piano playing at Senlis. Toward the end of his career he gave few concerts, perhaps only six or seven a year, devoting his time to the Foundation; although in 1984 he played in Los Angeles, San Francisco and Toronto. A final tragedy in Cziffra's life was the death of his son György (1942--1981) who was killed in a fire. Father and son had performed and recorded many times together as György junior was a conductor.
Cziffra's pianism was unique. He had a technique with hair-trigger reactions that allowed him to accomplish things at the keyboard that sounded physically impossible. It was not an effortless virtuosity; certain phrases could be driven with an extraordinary white-hot surge of power giving the feeling that Cziffra was often pushing himself to his limit. He will be forever associated with the works of Liszt, and he is one of the few pianists with the sheer bravura to give a convincing performance of works such as the Grand galop chromatique. When listening to this recording one can sense how Liszt himself drove his audiences into paroxysms of delight and wonder. After the 1960s some of the incandescence faded from Cziffra's performances, and the recordings from the 1970s and 1980s have a certain air of aridity about them, but in his prime Cziffra was one of the most extraordinary pianists of the twentieth century.
Jonathon Summers
Liszt Transcendental Etude No 3 Paysage Cziffra Rec 1959.
A remarkable prodigy, Gyorgy Cziffra ( 1921-1994) received tuition from his father, and by the age of five was improvising in public. His family was extremely poor and performances at the local circus benefited the family income. Fortunately, at the age of nine Cziffra entered the Franz Liszt Academy in Budapest studying with Ernő Dohnányi. By the age of twelve Cziffra was again performing in public, giving concerts in many of Hungary's principal cities. In 1937 he played in Holland and Scandinavia but was conscripted into the army in the autumn of 1942. His unbearable treatment is chronicled in his autobiography Cannons and Flowers. Worse was to follow when he was captured and taken prisoner. Of this period he wrote, 'Looking back from afar over that period of my life, I can take a more balanced view of the ravages of that hideous cancer of the mind which grew perniciously until it almost transformed me into a living corpse.' The privations were intolerable, but worse was the fact that Cziffra did not see a piano for this whole nightmare period of his life.
Having married at nineteen and left a pregnant wife when he joined the army, on returning to Hungary in 1947 Cziffra had to play the piano in bars and clubs to support his wife and son. He improvised at these venues and on one occasion was heard by György Ferenczy, a well-known piano teacher, who encouraged him to study and practise. As much as twelve hours a day was spent working at the keyboard with the prospect of the evening work at a club or bar to follow. By 1950 Cziffra and his family decided to leave Hungary for better prospects in the West, but his plan was discovered and he was again imprisoned, this time for his political beliefs. Amazingly, he survived three years of heavy manual labour, separated both from his family and the piano. In 1953 he was released and again began playing. Two years later he won the Franz Liszt International Piano Competition in Budapest and the following year Cziffra and his family escaped to Vienna where he gave a concert in November 1956. A few weeks later he was causing a sensation in Paris and London, almost overnight becoming a celebrity.
Cziffra settled with his family in France, eventually taking French citizenship and changing his name to Georges. He began the restoration of the organ of the Abbey of La Chaise-Dieu in the Auvergne, later founding a festival there, and set up the Cziffra Foundation, the main aim of which was to restore the Chapelle Royale de Saint-Frambourg at Senlis and support young artists. In 1973 Cziffra bought the Chapelle with his own money and created the Franz Liszt auditorium, financing this by undertaking a long series of concerts. In 1969 at Versailles Cziffra organised an international piano competition bearing his name and from 1986 he gave classes in advanced piano playing at Senlis. Toward the end of his career he gave few concerts, perhaps only six or seven a year, devoting his time to the Foundation; although in 1984 he played in Los Angeles, San Francisco and Toronto. A final tragedy in Cziffra's life was the death of his son György (1942--1981) who was killed in a fire. Father and son had performed and recorded many times together as György junior was a conductor.
Cziffra's pianism was unique. He had a technique with hair-trigger reactions that allowed him to accomplish things at the keyboard that sounded physically impossible. It was not an effortless virtuosity; certain phrases could be driven with an extraordinary white-hot surge of power giving the feeling that Cziffra was often pushing himself to his limit. He will be forever associated with the works of Liszt, and he is one of the few pianists with the sheer bravura to give a convincing performance of works such as the Grand galop chromatique. When listening to this recording one can sense how Liszt himself drove his audiences into paroxysms of delight and wonder. After the 1960s some of the incandescence faded from Cziffra's performances, and the recordings from the 1970s and 1980s have a certain air of aridity about them, but in his prime Cziffra was one of the most extraordinary pianists of the twentieth century.
Jonathon Summers
Liszt Transcendental Etude No 9 Ricordanza Cziffra Rec 1959
A remarkable prodigy, Gyorgy Cziffra ( 1921-1994) received tuition from his father, and by the age of five was improvising in public. His family was extremely poor and performances at the local circus benefited the family income. Fortunately, at the age of nine Cziffra entered the Franz Liszt Academy in Budapest studying with Ernő Dohnányi. By the age of twelve Cziffra was again performing in public, giving concerts in many of Hungary's principal cities. In 1937 he played in Holland and Scandinavia but was conscripted into the army in the autumn of 1942. His unbearable treatment is chronicled in his autobiography Cannons and Flowers. Worse was to follow when he was captured and taken prisoner. Of this period he wrote, 'Looking back from afar over that period of my life, I can take a more balanced view of the ravages of that hideous cancer of the mind which grew perniciously until it almost transformed me into a living corpse.' The privations were intolerable, but worse was the fact that Cziffra did not see a piano for this whole nightmare period of his life.
Having married at nineteen and left a pregnant wife when he joined the army, on returning to Hungary in 1947 Cziffra had to play the piano in bars and clubs to support his wife and son. He improvised at these venues and on one occasion was heard by György Ferenczy, a well-known piano teacher, who encouraged him to study and practise. As much as twelve hours a day was spent working at the keyboard with the prospect of the evening work at a club or bar to follow. By 1950 Cziffra and his family decided to leave Hungary for better prospects in the West, but his plan was discovered and he was again imprisoned, this time for his political beliefs. Amazingly, he survived three years of heavy manual labour, separated both from his family and the piano. In 1953 he was released and again began playing. Two years later he won the Franz Liszt International Piano Competition in Budapest and the following year Cziffra and his family escaped to Vienna where he gave a concert in November 1956. A few weeks later he was causing a sensation in Paris and London, almost overnight becoming a celebrity.
Cziffra settled with his family in France, eventually taking French citizenship and changing his name to Georges. He began the restoration of the organ of the Abbey of La Chaise-Dieu in the Auvergne, later founding a festival there, and set up the Cziffra Foundation, the main aim of which was to restore the Chapelle Royale de Saint-Frambourg at Senlis and support young artists. In 1973 Cziffra bought the Chapelle with his own money and created the Franz Liszt auditorium, financing this by undertaking a long series of concerts. In 1969 at Versailles Cziffra organised an international piano competition bearing his name and from 1986 he gave classes in advanced piano playing at Senlis. Toward the end of his career he gave few concerts, perhaps only six or seven a year, devoting his time to the Foundation; although in 1984 he played in Los Angeles, San Francisco and Toronto. A final tragedy in Cziffra's life was the death of his son György (1942--1981) who was killed in a fire. Father and son had performed and recorded many times together as György junior was a conductor.
Cziffra's pianism was unique. He had a technique with hair-trigger reactions that allowed him to accomplish things at the keyboard that sounded physically impossible. It was not an effortless virtuosity; certain phrases could be driven with an extraordinary white-hot surge of power giving the feeling that Cziffra was often pushing himself to his limit. He will be forever associated with the works of Liszt, and he is one of the few pianists with the sheer bravura to give a convincing performance of works such as the Grand galop chromatique. When listening to this recording one can sense how Liszt himself drove his audiences into paroxysms of delight and wonder. After the 1960s some of the incandescence faded from Cziffra's performances, and the recordings from the 1970s and 1980s have a certain air of aridity about them, but in his prime Cziffra was one of the most extraordinary pianists of the twentieth century.
Jonathon Summers
cantique Jean Racine de G. Faure
Le cantique de Jean Racine de Gabriel Faure chanté par la chorale la clef des chants accompagnée par l'orchestre des cordes d'argent de Saint-Pétersbourg sous la direction de Alexandre Afanasyev le 27 janvier 2016 à Senlis (60)