Ivan Bellocq Composer

« Your "triptyque" is miraculous, don’t change anything. You must already convince yourself that you will become a composer. »
Olivier Greif, composer (Academie d'Annecy, 1978)

« I defended this piece from this very young composer in front of my colleagues of the jury because it is perfect. I am delighted it won this prestigious competition. »
Alexandre Tansman, Radio-France’s 24^th International Competition (1982)

« This sonata by Ivan Bellocq is a success. »
Yehudi Menuhin (1988)

« Congratulations for your excellent work. »
Daniel-Lesur, Grand Prix de Rome, membre de l'Institut (1983)

« Here is a serious and complete musician, whom we can rely on. »
Michel Debost, teacher at the Conservatoire National Superieur de Musique de Paris (1989)

« I was delighted to read your music for piano ; I think Mouvement is very accomplished. And your Eloge des Quintes is excellent for small hands! »
Noël Lee (1993)

« A special mention has to go to Ivan Bellocq’s work, an original piece that enchanted the audience. »
Sud-Ouest (1996)

« The soloist pieces by Ivan Bellocq have been acclaimed by an enthusiastic and enchanted audience that filled the room. This programme will be played again next week in the UK : shame it is so far away! »
L'Eveil (Rouen) (1997)

« The festival and seminar "write and play" » in Krakow invited the ProKontra ensemble, that presented in particular a virtuoso and orginal work by Ivan Bellocq in premiere. »
Adam Kacziński, Akademii Muzycznej (Cracow 1998)

« We were delighted to hear your fascinating trio for flute, clarinet and viola. Thank you for this moment of happiness. »
Therese Brenet, Grand Prix at Rome, professor at the Conservatoire National Superieur de Musique de Paris, and Antoinette Brenet, archeologist (1999)

« Pacific 232 by Ivan Bellocq is an allusion to Honegger and presents the resources of the new ways of playing while using a playful and accessible musical vocabulary. »
La Depeche du Midi (1999)

« "…Passages…" by Ivan Bellocq is in three parts, always well designed and homogenous. »
Frederick Martin, composer (CD booklet, 2001)

« Ivan Bellocq’s work sounds remarkable. This French composer shows subtlety and command in the instrumental writing. »
Caroline Delume teacher at the Conservatoire National Superieur de Musique de Paris (2002)

« A work commissioned by Opus 93, Nuit et Jour, by Ivan Bellocq, was outstanding---the most memorable composition of this program, and the strongest. It leaned toward quiet, meditative sonorities, with key clicks and breath sounds in the reeds answered by gently percussive remarks from the harp. The saxophonist, who managed to sound like a horn at times, played with amazing control. Other techniques emerging in this timbrally-oriented work include snap pizzicato on the harp, and playing the wire strings with both hands on the same side of the harp. Even the harp 'whooshes' performed on the wires (effected by rapidly moving the palms vertically on the strings) were a natural outcome of the preceding material, elegantly drawing the work to a close. »
Anne LeBaron Report on the 8^th World Harp Congress held in Geneva, Switzerland, July 21-28, 2002

« here is a composer who is first of all indenpendent, close to nature, who dares a synthesis between atonality and modality, and whose language is enacted solely by expressive means. »
David Herschel, producer (Radio-France/France-Musiques 2003)

« The « Estrans » by Ivan Bellocq, are magnificent. Here is a real piece. »
Allain Gaussin, Grand Prix at Rome, professor at the Conservatoire National Superieur de Musique de Paris (2004)

« I’ve just read the piece for clarinet. I really like it. It’s inspired and a real success. Congratulations! »
Jean-Marc Fessard, international concertist (2005)

« The Beethoven International Festival in Bonn programmed five premieres for string quartet by young French composers, the most interesting two were those by Ivan Bellocq and Thierry Escaich. »
Rundschau Köln (October 26, 2005)



Contact Press	« Your "triptyque" is miraculous, don’t change anything. You must already convince yourself that you will become a composer. » Olivier Greif, composer (Academie d'Annecy, 1978) « I defended this piece from this very young composer in front of my colleagues of the jury because it is perfect. I am delighted it won this prestigious competition. » Alexandre Tansman, Radio-France’s 24^th International Competition (1982) « This sonata by Ivan Bellocq is a success. » Yehudi Menuhin (1988) « Congratulations for your excellent work. » Daniel-Lesur, Grand Prix de Rome, membre de l'Institut (1983) « Here is a serious and complete musician, whom we can rely on. » Michel Debost, teacher at the Conservatoire National Superieur de Musique de Paris (1989) « I was delighted to read your music for piano ; I think Mouvement is very accomplished. And your Eloge des Quintes is excellent for small hands! » Noël Lee (1993) « A special mention has to go to Ivan Bellocq’s work, an original piece that enchanted the audience. » Sud-Ouest (1996) « The soloist pieces by Ivan Bellocq have been acclaimed by an enthusiastic and enchanted audience that filled the room. This programme will be played again next week in the UK : shame it is so far away! » L'Eveil (Rouen) (1997) « The festival and seminar "write and play" » in Krakow invited the ProKontra ensemble, that presented in particular a virtuoso and orginal work by Ivan Bellocq in premiere. » Adam Kacziński, Akademii Muzycznej (Cracow 1998) « We were delighted to hear your fascinating trio for flute, clarinet and viola. Thank you for this moment of happiness. » Therese Brenet, Grand Prix at Rome, professor at the Conservatoire National Superieur de Musique de Paris, and Antoinette Brenet, archeologist (1999) « Pacific 232 by Ivan Bellocq is an allusion to Honegger and presents the resources of the new ways of playing while using a playful and accessible musical vocabulary. » La Depeche du Midi (1999) « "…Passages…" by Ivan Bellocq is in three parts, always well designed and homogenous. » Frederick Martin, composer (CD booklet, 2001) « Ivan Bellocq’s work sounds remarkable. This French composer shows subtlety and command in the instrumental writing. » Caroline Delume teacher at the Conservatoire National Superieur de Musique de Paris (2002) « A work commissioned by Opus 93, Nuit et Jour, by Ivan Bellocq, was outstanding---the most memorable composition of this program, and the strongest. It leaned toward quiet, meditative sonorities, with key clicks and breath sounds in the reeds answered by gently percussive remarks from the harp. The saxophonist, who managed to sound like a horn at times, played with amazing control. Other techniques emerging in this timbrally-oriented work include snap pizzicato on the harp, and playing the wire strings with both hands on the same side of the harp. Even the harp 'whooshes' performed on the wires (effected by rapidly moving the palms vertically on the strings) were a natural outcome of the preceding material, elegantly drawing the work to a close. » Anne LeBaron Report on the 8^th World Harp Congress held in Geneva, Switzerland, July 21-28, 2002 « here is a composer who is first of all indenpendent, close to nature, who dares a synthesis between atonality and modality, and whose language is enacted solely by expressive means. » David Herschel, producer (Radio-France/France-Musiques 2003) « The « Estrans » by Ivan Bellocq, are magnificent. Here is a real piece. » Allain Gaussin, Grand Prix at Rome, professor at the Conservatoire National Superieur de Musique de Paris (2004) « I’ve just read the piece for clarinet. I really like it. It’s inspired and a real success. Congratulations! » Jean-Marc Fessard, international concertist (2005) « The Beethoven International Festival in Bonn programmed five premieres for string quartet by young French composers, the most interesting two were those by Ivan Bellocq and Thierry Escaich. » Rundschau Köln (October 26, 2005)