Bio english

Graciane Finzi was born in Casablanca in 1945.

Her parents, both teachers at the Casablanca Conservatory, instilled in her a love of music, and while attending the same conservatory, she attained the level necessary to enter the Conservatoire National Supérieur de Musique de Paris when she was only 10 years old.

While she was there, she followed courses in:

  • Music theory,
  • History of music,
  • Sight-reading, and Piano, in the class of Joseph Benvenuti.

When she left the Paris Conservatory a few years later, she had obtained:

  • First prize in harmony,
  • First prize in counterpoint,
  • First prize in fugue,
  • First prize in composition

She has since been awarded:

  • The Grand Prix de la Promotion Symphonique from the SACEM
  • The Georges Enesco Prize from the SACEM
  • The S.A.C.D. Prize for her opéra, Pauvre Assassin
  • In 2001, she obtained the S.A.C.E.M. Grand Prix for all of her work.
  • In 2006, the Institut de France awarded her the Chartier Prize 
  • In 2013, Prix Musique SACD  
  • In 2020, Prix Florent Schmitt from the Institut de France
  • Knight of the Order of Arts and Letters

Between 1975 and 1979, she was Musical Director of the Festival de La Défense. 

In 1979, she was appointed Professor  at the Conservatoire National Supérieur de Musique de Paris.

Official Representative for the French Association for Artistic Action, 1997-2000, Vice-President of the International Society for Contemporary Music.

2001: Resident Composer of the Lille National Orchestra.

The works of Graciane Finzi have been played throughout the world by major soloists and orchestras (Paris, New York, London, Rome, Moscow, Helsinki, Vancouver, Nuremburg, Buenos Aires, Cologne, Calgary, Bremen, Rio de Janeiro, Berlin, Madrid, Warsaw, Mexico, Athènes, Barcelone, Santiago du Chili, Stuttgart, Bologna, Venezia, Modena, Malta, Finland, Palma de Mallorca, Stockholm, etc…)

Whether for a full orchestra or an ensemble of soloists, Graciane Finzi unites the instruments in contrasting groups where each possesses its own energy, passion, color, and rhythm, at times composing individual parts for each musician.

The diverse layers of sound form giant harmonies and unexpected colors.

In a modern musical language which uses harmonic and chromatic progressions outside the boundaries of tonality, she connects and attracts each note to another, thereby forming music that is never abstract but aims to express deep human emotions.

“Can we talk of romanticism?”

“Perhaps, I do not know.”

“Of expression?”

“Yes, hopefully.”

“Of emotions and feelings?”

“Absolutely!”