At the beginning of the 30s, Jolivet discovered the traditional North African music. Here, he is sitting in Blida, in front of the tomb of an Islamic holy man listening to a flute player.
Jolivet working on the Cinq incantations for solo flute, on holidays in Aix-les-Bains, in 1936.
After his experiences of the “Phony war” (June, 1940).
Guignolette smiles at the authors and interpreters of Guignol and Pandore: Suzanne Lorcia, André Dignimont, Louis Fourestier, Serge Lifar and André Jolivet (1944).
What did Robert Doisneau tell him to elicit such a questioning glance?
Jolivet: thinking or dreaming?
Re-reading a manuscript, Jolivet has left his pipe for cigarettes (circa 1955).
During the summer academy of music organised by Jolivet in Aix-en-Provence, teachers and students had meetings to study new scores. Here Henri Dutilleux gives explanations of his music.
Jolivet among his pupils in the Conservatoire of Paris (CNSMDP).
In 1959, Jolivet founded the “Centre français d’humanisme musical” in Aix-en-Provence. Here he is sitting outside the very fashionable café “Les deux Garçons” (One can identified Jacques Chailley, Serge Baudo, Lucette Descaves).
This portrait of Albert Roussel by C.H. Martin was one of Jolivet’s favourite possessions. It is now in the Bibliothèque-Musée of the Opéra, in Paris.
