Michel Bosc is a classical French composer born in Paris in 1963. With various influences, his music (more than 200 opus) has tackled registers as diverse as symphonic, chamber of vocal music, sacred music, theatre music and orchestrations.
He composed eight symphonies (Mosaïques, Bernard Palissy, Pascale, Le Grand Meaulnes, Loume, Providence, Jane Eyre, Lascaux ), about fifteen symphonic poems (including a cycle about forests Forêts d’été, Forêts d’automne, Forêts d’hiver, Forêts nocturnes and Forêts enneigées); two operas : La Fuga on a Spanish original libretto by Luis Eduardo Jimenez, Qateeni, a work in progress based on an assyrian libretto by Tony Khoshaba after William Daniel; and four concertos (three for piano).
About sacred music, he composed two oratorios : Le Testament de St Mexme, La Nef ardente (about St Jeanne Delanoue) ; a mass, a requiem and Leçons de ténèbres.
Instrumentally, he composed for various formations : trio, string quartet, wind quintet, brass quintet, flute and harp, and especially for mandolin (La Harpe invisible, Le Tombeau de Gabriele Leone, Le Vent sur le lac, A l’ombre d’oliviers, Duetto Monetta).
His music, often qualified of “quintessentially French”, is hedonist ; and sometimes uses contemporary techniques, but it remains fundamentally tonal.
Bosc wrote some librettos of his melodies and cantatas, and several books : Symbolisme et dramaturgie de Maeterlinck dans Pelléas et Mélisande (ed. L'Harmattan, 2011), Au bout du rêve, la Belle au Bois dormant de Walt Disney (ed. L'Harmattan, 2012), L'art musical de Walt Disney, l'animation de 1928 à 1966 (ed. L'Harmattan, 2013), a collection of poems Cathédrales (ed. Loris Talmart, 1991), a book about French baroque music Musique baroque française, splendeurs et résurrection and three novels, Poste restante, L'amour ou son ombre (ed. L'Harmattan, 2014) and Marie-Louise - L'Or et la Ressource (ed. L'Harmattan, 2014). As a doll collector, he wrote a study : Mannequins GéGé, Chic de Paris (ed. Wax Fruit Press, 2013).