Henriette Renié; Claire-Mélanie Sinnhuber - Cordes rêvent (Ensemble Des Équilibres)

Information

Composer: Henriette Renié; Claire-Mélanie Sinnhuber

1. Sinnhuber - Renouée des oiseaux
2. Renié - Trio pour violon, violoncelle et harpe: I. Allegro risoluto
3. Renié - Trio pour violon, violoncelle et harpe: II. Scherzo
4. Renié - Trio pour violon, violoncelle et harpe: III. Andante
5. Renié - Trio pour violon, violoncelle et harpe: IV. Final
6. Sinnhuber - Héliotrope
7. Renié - Andante religioso

Ensemble Des Équilibres

    Agnès Pyka, violin

    Jordan Costard, cello

    Marcel Cara, harp

Date: 2026

Label: Klarthe Records

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Two contemporary works by Franco-Swiss composer Claire-Mélanie Sinnhuber are presented alongside compositions by harpist-composer Henriette Renié in a new recording by the ensemble Des Équilibres. Centered on the trio with harp, the program creates a dialogue between modern musical language and early 20th-century French repertoire.

Henriette Renié (1875–1956) was a pioneering French harpist, composer, and pedagogue who studied at the Paris Conservatoire under Alphonse Hasselmans. She won the Premier Prix at the age of 12, although she was later prevented from competing for the Prix de Rome due to restrictions on women at the time. Renié became one of the first women to build an international career as a solo harpist, composer, and teacher. Her works, including educational pieces and advanced concert repertoire, remain central to the harp literature, particularly her influential Method for Harp, which continues to be widely used in professional training today.

Claire-Mélanie Sinnhuber (born 1973 in Strasbourg) is a French-Swiss composer trained in flute and musicology before studying composition at the Conservatoire de Paris and later joining the IRCAM Cursus program in composition and computer music. She refined her craft through residencies at Villa Kujoyama and the Villa Medici. Her works have been performed by leading ensembles such as Ensemble Intercontemporain and at major international festivals including Musica in Strasbourg and MaerzMusik in Berlin. Sinnhuber’s music is often shaped by her exploration of everyday sounds, gesture, and the relationship between noise and musical tone, frequently incorporating vocality, theatricality, and playful structural contrasts.