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When one quotes the big flutists, whether it is of day before yesterday (Moyse, Roy, Gaubert, Caratgé, Crunelle, Dufrêne) or of yesterday (Rampal, Bourdin, Marion, Debost, Larded, Larrieu), it would be necessary that people get used to adding to it Jean-Pierre Eustache!
I understand that you are proud of your father.

2002 - Christian MERLIN, Music critic in the Figaro


Paris remove us
The flutist Jean-Pierre EUSTACHE
Splendidly received within the Orchestra of the Opera

Le Dauphiné Libéré - 1960

When three knocks will ring, the next season, on the scene of the Opera of Paris, a musician Grenoblois will be among the ninety performers of the orchestra. Mister Jean-Pierre Eustache, professor of flute at the National Music school which steers Eric-Paul Stekel, son(thread) of the famous psychoanalyst Wilhem STEKEL, follower of S.FREUD, has just been splendidly received indeed there. The jury, having preferred it to the twenty four other candidates (most holders of international prices) sent him(her) its warmest congratulations. Let us quote those of Mister Julien, administrator of the Opera; of Mister E.Bondeville, secretary perpetuel of the Academy of Fine art, director of the Opera; conductors of the Opera; the misteres Louis Fourestier, Robert Blot and Pierre Dervaux; Those of eminent flutists Jean-Pierre Rampal and Lucien Lavaillotte, also members of the jury, as well as Jacques LOUSSIER, the famous musician of Jazz, his friend and godfather of his(her) son Philippe. In these congratulations, added those of the director of the Grenobloise music school. But it is not without regret that this one sees going away towards the capital an instrumentalist of big talent, a soloist whose All music-loving Grenoble appreciated qualities, today dedicated by this flattering distinction. Because to be allowed in the Opera of Paris in thirty years, it is a big honor for the candidate, a honor in which participates and his(her) bosses, and the city which had the pleasure to welcome him(it) during long years.

First prize of Conservatoire in twelve years.

Mister Jean-Pierre Eustache was born on October 14, 1930 in Caen where his(her) relatives(parents) - his father is a flutist, his mother violinist steer him(it) quite naturally towards artist - musician's career. At the age of twelve years, it(he) goes out of the Conservatoire of Caen with a First prize of flute. It(he) is successful first in the Conservatoire of Paris, in 1948 or it(he) obtains notably a medal of chamber music, having followed the education of MESSRS MARCEL MOYSE (of the famous trio) and Roger Cortet, professors of flutes; of M Fernand Oubradous, professor of chamber music: and of Melle Simone Petit, professor of music theory. Let us indicate to the passage that this last one, companion in the Opera, participated in " Carmen's " rehearsals in Raymond Rouleau's stage setting. In the exit of the Conservatoire of Paris, Mister Jean-Pierre Eustache ' installs(settles) in Grenoble. It(he) is brillament received in professor's competition of the National Music school, functions(offices) at which it(he) excels.

The marriage of two talents

In 1954, the brilliant professor meets the piano teacher, melle Geneviève Dinand and get married. - They will have of this marriage, three children; Eric-Pierre, Information scientist, Isabelle, who will become a professor of dance and Philippe who after studies of violin will choose to teach First aid the French Red Cross. (Added text has the article of time by his(her) son) - Sir and Madam Jean-Pierre Eustache will play certain works sets(groups). Let us quote as stages of this walking towards the success: the Concerto for flute and Mozart's harp given in 1954; concertos for Mozart's flute always, in April, 1959, that of Jacques Ibert, continuation(suite) in if and the fifth concerto brandebourgeois of Bach. " Bach is our boss in all " said to us the professor Jean-Pierre Eustache. Then, answering our question: " When I play, I try hard not to betray the author " . " Always have the respect for the work ", as said it Toscanini. The happy candidate also played in Paris the music teachers' training college, supervised by Georges Enesco, then by Louis Fourestier with the Orchestra of the Younger children of the conservatoire of Paris. There also, it(he) collected most flattering appreciations. -Le Dauphiné Libéré ' 1960

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Artless n°52 - Week from April 26 till May 3, 1962
Revelation of a Flutist Vivaldi: Six concertos for flute and cord Op10

After concertos and symphonias of Janigro ( Amadéo) and Kurt Redel ( Erato's ) seasons, it is my third big moment vivaldien for ten months. Not that the Tempesta di puddle, the Night, Chardonnet (or their three anonymous brothers) are revelations, but the virtuosity and Jean-Pierre Eustache's brilliant tone are one of it, and importance. It is true that he is at good school: it(he) plays in the pit of the Orchestra of the opera of Paris, in quoted(esteemed) by Jean-Pierre Rampal.

La Discographie française - Revue n° 116 du 1er mai 1962
VIVALDI reveals Jean-Pierre Eustache

Still Vivaldi? You go to say maybe. Eh! Yes but lives Vivaldi when he is also interpreted well , registered and presented. Here is one of the best discs which were dedicated to him(her) for a long time (and god knows that he appears there a lot). Works are far from being new: it is about six concertos for flute of Op. 10 - three of them at least are famous, very helped in it by their titles: the Tempesta di puddle, Noted and the Goldfinch. Revelation will be, for the record collectors, the young flutist Jean-Pierre Eustache (of whom(which) it is first recording) 31 years, First prize of Conservatoire and 2-nd price for Geneva, it(he) plays at present in the Orchestra of the Opera of Paris and the R.T.F. It(he) possesses a tone magnificently round and pure, a breath which seems inexhaustible and a completed virtuosity which makes forget nevertheless to lead us towards air enjoyments.

Classical vinyl par Jean Roy - Télérama du 12 mai 1963

Opus 10 understands(includes) three descriptive concertos (the Storm, Nuite, the Goldfinch) and three not titled concertos, what does not make them less suggestive and attractive than the first three. In here is an excellent interpretation, elegant and moderate. The tone of the soloist is very beautiful, and the virtuosity is never sought artificially. I love this moderation and this respect for the text; I love also that these concertos are treated with a sense(direction) of the beauty meaning and balanced which stands out(goes out again) it elegance and ruler harmony

Critique de la Revue du disque n° 122 - 1961

Here is engraved supervised by Roland Douatte, a "muscular" version where the implementation of every line(feature) appears as the nervure of a construction rigorous, without defect in the continuance of every work. Let us say at once that this remarkable rhythmic impulse in the six concertos of the red priest, put only better in evidence the round dance tone, the quivering sensibility of the soloist Jean-Pierre Eustache (" Sicilian of Goldfinch "). - The game of the soloist marries with happiness all the intentions of the leader. The easy and " ever free " virtuosity takes our conviction in the fast shutters(sectors) and its methodical delicacy, the warm tone create an attractive climate. - The soloist is present without excess and the orchestra, very audible in every part including the continuo, centred well.

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The professor Jean-Pierre Eustache
Take away international price
Of musical execution of Geneva
International competition of musical execution
GENEVE - 1958

(Le Dauphiné Libéré - 3 octobre 1958)
Mr. Jean-Pierre Eustache, flutist, professor at the National Music school, the solo flute in the Orchestra of the Association of the Concerts of the Conservatoire and in the Theater Municipal, has just taken away(gained), unanimously, the international Price for musical execution of Geneva 1958, contribute(compete) who is organized by the Conservatoire of Geneva in association with Radio Geneva and the orchestra of Switzerland Romande. Forty three flutists of any countries appeared at eliminating heats, among them, 18 were accepted for the recital and 4 for the final, of whom(which) Jean-Pierre Eustache who executed on October 1-st, in the Victoria Hall accompanied by the Orchestra of Switzerland Romande, direction(management) Edmond Appia, second and third concerto in Mozart's ground. Everything those that were for the listening of Radio-Sottens, because the concert was broadcast directly by the Swiss radio, was able to appreciate the magnificent execution of our professor at the National Music school and the long cheers, of which it was the object. Mr. Jean-Pierre Eustache had obtained a 1-st music price for Paris, classify Moyse and Cortet in 1952 and he entered on competition our National Music school in 1953. It is the second professor of our School, after Mrs Flora Elphège, violinist, who appears in the prize list of this world-famous international competition. The mister E.P . Steckel can be proud of having known how to surround himself with so eminent co-workers. Our professor of flute is not only a teacher but also a big artist, besides, we learn that Mr. Jean-Pierre Eustache will play the April concert of the Association of the Concerts of the Conservatoire, the concertos of Mozart and Jacques Ibert.
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Dauphiné Libéré du 16 novembre 1963

We learn that Mr. Jean-Pierre Eustache has just been named(appointed) first solo flute to the Orchestra of the Opera of Paris. It is a big Honor for this distinguished artist; honor which spatters on our conservatoire, because it was there, during numerous years, the professor of flute.

T.M.C - Caen - décembre 1966
Quality and elegance

For the monthly December concert, the Orchestra of Caen reserved us a pleasant surprise: a program of choice, the brilliant soloists. Under Jean-Pierre Dautel's baguette, the musician Caennais gave evidence of thoughtlessness, virtuosity. And so Haydn's " morning symphony " seemed to us under a lighting of the most delicate, fact of very sensitive nuances. With the famous " Concerto for flute, harp and orchestra " of Mozart, Lily Laskine and J.P Eustache, the two invited soloists of this evening, stood out(went out again) all the refinement of a work of salon quite tinged with the personality of her author. But the most pleasant moment of evening was doubtless the interpretation of in Debussy by Lily Laskine. The harpist, very well accompanied, made the display of the used(employed) well virtuosity. What is very rare. Certainly, no dissonance in this qualitative evening.

T.M.C - Caen - décembre 1966
An evening of a rare quality under the baguette of J-D. DAUTEL

Two soloists of senior form, an attractive and varied program, a chamber orchestra got(touched) by the grace(favour), Voila many(well) of that to make a concert except series. The T.M.C. was packed on Friday and the heat of the applause, the enthusiasm were the just reward of a quality, a perfection one can say without any rather exceptional exaggeration. Symphony " the Morning " of Haydn which began program was played by the musicians of the chamber orchestra of Caen, with a sharpness, a stunning thoughtlessness. It(he) is always possible for an orchestra to make a lot of noise, but " pianissimi " on the other hand is infinitely more difficult. Now, Jean-Pierre Dautel, managed to obtain from his orchestra a delicacy of nuances, an extreme aeration of the phrasé which made in the morning, of the good dad Haydn a magnificent sound lace. I love rather little Hindemith usually and nevertheless 5 details(rooms) for orchestra with ropes enthused me. Maybe because the interpretation of the chamber orchestra in easing the roughnesses of the counterpoint often very later of the author of " Mathis the painter " stood out(went out again) it the meaning side. Lily Laskine one is accustomed with concerts Caennais, and it is always with pleasure that one finds this so pleasant artist, if I found a little too much held(retained) the time when she(it) adopted for him(it,her) " flute and harp " mozartien, on the other hand the dances of Debussy were one of the big moments of this remarkable evening. Jean-Pierre Eustache is a part of the main platoon of the big French flutists, he allies a perfect musicality to a tone of a very special softness, who seems almost weak at first sight but who "door" in a extraordinary way Gretry's concerto gave a sensational proof of it.

T.M.C - Caen - décembre 1966
The Concert

Be very numerous music lovers of Chamber, this most enriching and the most subtle shape of musical communication, had on Friday , December 9 the privilege of a concert of big quality. A balanced program, a worn-out orchestra in demanding disciplines of this precise and intimate shape of art among all, a leader whose warned and sophisticated musicality expresses itself with sober one authority, two soloists of senior form, everything contributed(competed) to make of this evening a success. Difficult Symphony n ° 6 of Haydn, real " musical landscape " was interpreted with an understanding very sure of a text which unites melodic and rhythmic grace(favour) with a rigorous architectural development. Nevertheless, the instrumental set(group) of Jean-Pierre Dautel which presides over its fates had to overcome particularly dabs this work of difficulties appropriate(clean) for the composition of the orchestra which suffers from a light sound gap caused with the number restricts violins with regard to basses, and which(whom) it has to mitigate by a constant attentiveness. The addition of two or three violins would give certainly more safety(security) to this remarkable set(group) the city of Caen of which can be proud in many respects, any comparisons made with the other regional or foreign sets(groups). Five Hindemith's details(rooms) allowed the orchestra to give the measure of its sound palette. Claude Macaux, leader finds there a climate particularly favorable to its indisputable authority and to its tone. Jean-Pierre Eustache, flutist, gave of Gretry's concerto a remarkable interpretation. A perfect musicality served with a technique without defect, a warm tone of which we would love for our part an use sometimes more subtle are the characteristics of a talent which should not be demonstrated any more. We believe to be able to indicate that too numerous velvet curtains on the scene which "swallow" in a sense the pointed, were able a little to sometimes falsify sound plans: this small defect of acoustics of a room the sound system of which is nevertheless completed should be corrected easily pat the implanting of a suited decoration. Lily Laskine is the embodiment of the music and by her only presence with a climate of certainty and relaxation absolved for the listener. Admirably followed in all the intentions by the orchestra, she(it) recreated for us in the dances of Debussy the atmosphere of dream in which soaks this work which can a little seem ésotérique to a public less warned than the one that, by the quality of the attention, joined strictly in l moving interpretation of these right-hand pages. Mozart's concerto for harp and flute, masterfully interpreted, ended program. The enthusiasm of the auditors and their numerous reminders were worth us a second hearing of Andantino. Jean-Pierre Eustache and the orchestra completely relaxed joined in their prestigious partner to make of this "encore" a moment of absolute musical beauty.

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Revelation of a Flutiste

Vivaldi: Six concertos for flute and ropes op.10 - J.P Eustache and Collegium Musicum of Paris, dir. Roland Douatte (Criterion). After concertos and sinfonias of Janigro ( Amadéo) and Kurt Redel ( Erato's ) seasons, it is my third big - moment-vivaldien for ten months. Not that the Tempesta di puddle, The Night, The Goldfinch (or their three anonymous brothers) are revelations: but the virtuosity and J.P Eustache's brilliant tone are one of it, and importance. It is true that he is at good school: it(he) plays in the orchestra pit of the Opera of Paris, next to J.P RAMPAL

CLASSIC DISCS - Chamber music - 16-th and 17-th century.

SIX CONCERTOS FOR FLUTE AND ROPES (Opus 10) of Vivaldi, doubtless known by various versions phonographiques, but which enjoy here a so completed execution that one imagines them played for the first time. (Soloists: Jean-Pierre Eustache, a fine and thoroughbred flutist, of whom it is the first disc, with the collegium Musicum of Paris). - 30 cms. CRITERION

The Instruments of the music in a brilliant educational concert Grenoble

It is in the amphitheatre(lecture hall) Marcel Reymond that took place, yesterday evening, a session at the same moment little common and full of interest … Indeed, the Local Office of the School Cooperative and the Dauphiné Institute of the Modern School had had the excellent idea to take advantage of the talent of the professors of the National Music school, to make a presentation of the " Instruments of the Music "; it was there, a point of departure, a base, to finalize(work out) an above all educational session, to address the Students at the Ecole normale supérieure, as in the school of any ages … The organizers reached finally at the stage of the real concert, program of which contained, on one hand, an instructive side, by the actual presentation of instruments in the context of the literature for only instrument, grouped afterward in the formings(trainings) of chamber music, and, on the other hand, this entertaining and pleasant side appropriate(clean) for any concert. This cunning " music lesson " began with a clear and simple statement which replaced session in its frame, and gave an outline of the contents of the program … During this(they) even exposed(explained), the organizers were warmly congratulated and thanked. Then we entered the deep of the subject with a trio of Haydn for violin, viola and cello. The series of the " only instruments " came, then; the cello in J.S Bach's continuation(suite) - partita; the flute in details(rooms) of Jade(jade object) and in acrobatic fountain written in the style of the fragments of competition; of Viola, in the first movement of a sonata of which the instrumentaliste was the author; oboe, in Haendel's concerto, and violin in Gypsy of Maurice Ravel. Second part lives these instruments to join, to group, better to have a dialogue. The auditors were able so to to appreciate two trios of Beethoven, the one for flute bassoon and piano, the other one for clarinet, cello and piano; the quintette with sale of J. Castella, created yesterday evening, for the biggest enjoyment of the composer which was in the room; the 1-st movement of the Quartet of E.P. Stekel and the " brief Details(rooms) for quintette in wind " of Jacques Ibert. One made so the review of the different "musical instruments" and one had also the pleasure to hear(understand) little known works of chamber music. The presenters(driving forces) of this evening were every professors at the National Music school, so of diamonds artists and interpreters. They are moreover known well in Grenoble for the invaluable educations which they lavish, and for their talent which, everywhere, is always hardly noticed. Cellist Nicole Orset, the violinists Flora Elphège and Maurice Brunet, the artist Mario Davèze, the set(group) of winds: Jean-Pierre Eustache (flute), Jean Monchanin (oboe), Max Coste ( clarinet), Pierre Ravaille (corn), Gérard Dartigolle (Bassoon), finally Mrs Eustache-Dinand, remarkable pianist and companion. It was there the very happy initiative that to associate the teachers' training college and the Conservatoire in purposes of educational cooperation. She(it) can be renewed and that the organizers are thanked for it!


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grenoblois appreciated the 4-th concerto brandebourgeois of Jean-Sébastien Bach interpreted yesterday in the studios of the Alps Grenoble, by the Orchestra of the Conservatoire. Here are the musicians during the broadcast(emission,issue). In the piano the mister Eric-Paul Stekel, the director of the Conservatoire, who assured(insured) continuous bass. Jean-Pierre Eustache in the flute and Flora Elphège, violin.

On Wednesday , October 23, 1957, Eric-Paul Stekel steers the execution of "Pavane" of Gabriel Fauré..

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