Presentation of the Association Harpe en Avesnois
In the 90’s, Mrs Dompierre-Lanet created an ensemble of 4 harps named Orphea. Ms Dompierre-Lanet was accompanied in this ensemble by Juliette Jegou, Justine Jumez, Marianne Vandyck.
Very quickly, this ensemble found its cruising speed and its performances were more and more numerous, but in 1992, it disbanded following the departure of young harpists, whose studies were calling them to other regions.
From there, it was decided in 1993, at the instigation of Mr Jean Duprey, President of the Association, and with the help of parents of students studying the harp at the Maubeuge and Feignies Conservatories, to create an association for the Development and Promotion of the Harp in the Sambre-Avesnois-Hainaut region (ADPHAH) and thus to encourage the teaching and dissemination of this instrument through Master Classes.
More commonly known as HARPE EN AVESNOIS, the association aims to promote the harp in all its forms. To promote young harpists as well as confirmed artists. To make the Sambre – Avesnois – Hainaut region better known.
The association HARPE EN AVESNOIS has, from its creation, created a Master Class at the Château de Gussignies. The first Master Class was given by Mrs Susanna Mildonian in 1993, the association’s godmother. We would like to thank the harp makers CAMAC and SALVI for their help in this undertaking.
Since 1995, the association HARPE EN AVESNOIS has been organising an annual Harp Festival which extends over the territory of the Sambre – Avesnois – Hainaut, but whose influence extends far beyond this geographical region, notably throughout Northern Europe. This festival takes place every year from February to March and in autumn.
Note of intent by Alexandre Ouzounoff
Its creation will be performed by the Phalaena ensemble.
Two works by the painters J. Pollock and V. Kandinsky inspired this piece: “Convergences” for the American and “Image-Brillante” for the Russian. Jean Duprey and the Festival de l’Avesnois – to whom the work is dedicated – asked me for a work full of hope and positive energy.
The combination of a violin, an accordion and a harp offers an unusual problem for a composer to solve. In fact, there are very few works that combine these three very different yet complementary sounds. It is on this axis that I have decided to treat the material sound. They are instruments of great virtuosity but also of a beautiful and tender expressivity: two parameters not to be forgotten or neglected.
The euphoria and the expected commitment ring out in the title “Don’t give up / N’abandonner pas” but also through the different phases of the piece referring to the overtures” in the Italian style “built in three parts : Lively – Slow – Lively.
The visual flashes of the two paintings offer in their entirety a sensation of roundness, smoothness and fullness but nevertheless possess in the intimacy of the line a fierce firmness to the targeted stakes.
Photo credit: Stéphane Ouzounoff
Poem dedicated to the association Harpe en Avesnois by Marianne Moriceau
Curves of a harp
Her curves are like those of a woman
Must be stroked and touched.
It is believed to be an angel,
Sometimes it is, but somewhere its strength is roaring.
It is soft or powerful.
It makes you dream or shiver.
Its power of seduction
It is this blend of softness and strength that emanates from her.
Her curves like those of a woman
Can be surprising.
Can be misunderstood.
It can be confined to one style,
She shuns it.
She is married to one or the other.
But deep down, she is free.
Free to be caressed or mistreated.
Loved or hated.
Her curves similar to those of a woman
Pushes us to open our imagination.
It bewitches us, fascinates us
And if we get closer,
And listen to his soft whisper,
Not just curves that look like
To those of a woman.
President : JEAN DUPREY
Vice-President : Nathalie Doubs
Treasurer : Francis Williame
Secretariat : Marie-Claude Duprey, Raymonde Huge
Artistic Counsellors : Martine Dompierre-Lanet – Isabelle Rousseaux
Webmaster : Stéphane Mairiaux – email@example.com