Marc Beziat

Renowned artist Marc Béziat again astounds with his latest Classical/Instrumental single, “Spirit of Freedom.” Born in Aix en Provence, France, Béziat’s passion for music emerged at 28, despite lacking formal composition and musical instrument practice training. His relentless pursuit of artistic expression led him to acquire the necessary skills through self-study and formal education at Polyphonies, a school of musical composition.

“Spirit of Freedom” encompasses the essence of liberation, captivating listeners with its enchanting symphony. Béziat’s impeccable orchestration and majestic melodies intertwine, creating a masterpiece that will undoubtedly enrapture classical music aficionados. Through each note, a sense of liberation is woven into the fabric of the composition, igniting the spirit and elevating the soul.

As an artist who has consistently delivered musical excellence, Béziat’s “Spirit of Freedom” is a testament to his unwavering dedication to his craft. Prepare to embark on a transformative musical journey as you immerse yourself in the profound depths of Marc Béziat’s latest creation. Allow the spirit of freedom to soar and awaken the dormant passions within. - Honk Magazine

The southern French city of Aix-en-Provence is the birthplace of Marc Béziat. At the age of 28, his musical imagination exploded and manifested itself. But at this point in his life, he lacked both musical instrument practice and technical expertise in composing. He committed his time and effort to learning the composition techniques required for his artistic expression from that point on, all the while continuing his professional activity. “The Free Movement,” a captivating classical music track composed by Marc Béziat, takes listeners on a mesmerizing journey through the realm of romance and cinematic grandeur. With its evocative melodies, sweeping orchestration, and meticulous attention to detail, Béziat effortlessly captures the essence of both love and epic soundscapes. “The Free Movement” is a masterpiece that seamlessly blends classical elements with cinematic influences, resulting in a truly breathtaking musical experience. From the first notes, the composition establishes a captivating atmosphere, evoking a sense of wonder and anticipation. Marc Béziat demonstrates a keen understanding of orchestration, utilizing a wide array of instruments to create a rich, multidimensional soundscape. The track’s melodic themes are instantly captivating, and their emotional depth resonates with the listener. Béziat masterfully weaves intricate melodies, effortlessly transitioning between moments of delicate tenderness and triumphant swells. Each note seems purposefully placed, evoking a wide range of emotions, from longing and passion to triumph and jubilation. - Skylight Webzine

As I read the back of a newly received album, I started muttering to myself, “Please let this be a classical record.” Delirious from the flu, I had been guilt ridden for two weeks waiting for my symptoms to clear up, pushing this album review aside. What I didn’t expect was the medicine I needed in musical form. Most reviews are challenging in that one never wants to criticize too much, and yet one can never be too easy going, it only hurts the artist. Having a severe cold for the first week and adding a fever the next, I write this review from another place entirely, a mental space where time is abstract and all I desire is rest, solitude and healing. These circumstances are why Marc Béziat’s music on Consolation was truly a sort of god send. In a haze of helpful medications, I first put on this album expecting that my patience would not be able to handle it. I had every intention of drifting off to sleep if possible, having been racked by night after night of illness induced insomnia. But, Oh! Contraire, for the album became the theme of my road to recovery. That week was already a classical music odyssey by some twist of fate. When I’m this under the weather, I don’t listen to my normal repertoire of loud crashing rock alternative, but instead listen to books on tape and classical music collections. The likes of Mozart, Pachelbel, Bach and even a little Massenet had already been filling the house for days, even into night to ease troubled tossing and turning. Then one afternoon I put on Marc Béziat unbeknownst to my girlfriend who was just in the next room relaxing in the bath. After a pretty lil’ prelude and the second song, Edge of the Lake of Melody, I hear a resounding “What is this song?!” coming from the other room. “That’s so beautiful!” She exclaimed. “Turn up the volume so I can hear, too.” I did, and went to her and asked “Do you know who this is?” She is far more schooled in classical style then myself, having been a trumpet player and vocal musician with some music history under her belt, so I wanted to see what she thought. “Is this… Handel?” I laughed and told her to guess again. Then she realized that it wasn’t a true orchestra, and guessed “Koji Kondo?” Koji is a famous Japanese composer most noted for his work on the Legend of Zelda series. “Nope!” I exclaimed, “Believe it or not, this is my latest review, Marc Béziat.” She was shocked. We decided that neither of us had heard any classical music on this level in recent years, save for this new resurgence in digital media for the sake of epic storylines in role playing games. Unlike movie scores (which are mostly tasteless due to timing music to action sequences and the whatnot) video game scores of this caliber can last over the course of a 100+ hour game. Pioneers like Kondo and Nobuo Uematsu (Final Fantasy) have brought classical music to millions by combining their love of the old with new technology. Marc Béziat’s music could easily fit in with such epic composers. It is easy to sit back and imagine a vagabond hero, traveling on their way. Consolation has a great feel that blends square edge of ominous synthesized orchestral sound with acoustic piano. The unique sound gives a taste of the 16-bit age, pleasantly filling my mind with virtual memories past. Yet, it is very difficult to discern by the untrained ear. This is such fantastic composition and recording that it is very easy to get lost in the overwhelming neo-baroque beauty. So, what is there to criticize? Just this: Béziat deserves a full orchestra and choir! The album sounds spectacular already; it would be well received on any soundtrack in its current form. Even so, it is the difference between greatness and excellence. I cannot name a single artist working in classical music to date who deserves this chance more. A symphony would bring a new depth to the work, expressing beyond what a keyboard sound card is capable of. A mixed madrigal choir could take the robotic oohs and aahs and turn them into a powerful vocal arrangement that may not even require real words, it’s that enthralling. So, I sequester you, the reader; pick up Consolation and mix it into the middle of your classical play list during your next sophisticated cocktail party and see who notices. The guessing game might just surprise you as it did me. Marc Béziat’s record has found a permanent home in my collection with some of the greatest composers of all time. Simply put, it is serene and pleasant music for any occasion be it focused work or relaxation and rest. My only regret is procrastinating and not listening to Consolation sooner. - Julian Gorman

Marc Béziat is a composer of classical music who discovered his passion at the age of 28. Béziat taught himself at first, eventually realizing he needed more formal training if he was to progress. Enrolling in Polyphonies, Béziat studied for two years to learn compositional technique and technical skill necessary to express the music he carried inside. In 2007, Béziat felt he'd come far enough to be able to share the music he heard in his mind; Béziat took a sabbatical from his professional life and began writing Victory Of Spirit, which was released in 2008. Béziat is back with a new album for 2009 in Consolation. As with Victory Of Spirit, the music is created digitally, but it appears that Béziat has grown technically in the year between albums. Where Victory Of Spirit was clearly electronic, Consolation sounds much more like a live orchestra.

Consolation opens with the brief Prelude: The Secret Nuptials before launching into Edge Of The Lake Melody, a lilting major key melody with dark and moody undertones. Flute, organ and violin trade melody back and forth while the darker instruments in the orchestra provide the depths from which the melody rises. The Wound Healed alters the mood on Consolation distinctly. There's an element of worry or concern that edges into the song, as if the song portends some conflict to come. The chorus part in the middle of The Wound Healed is the first distinct indication that the instrumentation here is electronically created as it is very clear the "voices" are generated from the gently percussive action of a keyboard. The third movement is Solace, a pastoral theme that whisks away the burdens implied in The Wound Healed. The melody here is quite lovely if guarded.

Unification Singing is a magnificent composition with soaring highlights and choral lines that beg you to hum/sing along. The resolutions here are archetypal, paying tribute (perhaps unintentionally) in sound to some of the great choral works of the Anglican Church. Fraternity is a choral driven piece with a gorgeous sound that simulates the cascading action of a waterfall at times. It would be amazing to hear this song put to voice by a live choir, preferably in an old cathedral with lots of nooks and crannies in its architecture. Movement IV: The Allayed Walk, plays like musical prose, telling a story in tones rather than words. The violin carries perhaps the loveliest lines in The Allayed Walk.

Beautiful Nature appears to mimic the power for growth seen in nature; the darker elements of decay that come before rebirth aren't represented here, although there is a dark undertone that runs beneath the song that is perhaps the lurking if forgotten other side of life. Strings and clarinet tell their own stories simultaneously in voices that speak together without harmonizing. Movement VIII: Serenity, is the only composition here where it feels like perhaps Béziat ran aground at all. Serenity, for whatever reason, feels a bit forced, as if Béziat had a very specific idea of where he wanted to go with this one but could never quite realize it in sound the way he heard it internally. There are some great elements to the song, but something is missing. The IX movement, The Free Movement, sounds a bit like movie soundtrack material. The themes here are a bit more on the popular side (think Braveheart or some other period epic). The piece is quite well done, but is perhaps a bit out of context with the rest of Consolation. Béziat leaves us with a composition called Transition: Fullness; an uplifting and beautiful piece that balances orchestra and faux chorus on a musical pretext that's not quite a theme but which informs the melodic development of the piece. The composition is beautiful, although suggests (as does the title) that something more is to come.

And that would be welcome. For a late bloomer, Béziat is quickly growing into a distinctive voice as a composer. Consolation is a coherent works that flows from one movement to the next like a river of sound that was born of the earth rather than created at the hand of man. It's a matter of time before someone out there adapts one of Béziat's creations for live orchestra and chorus. Consolation would be a great place to start. It's a beautiful work. - Wildy Haskell

‘Victory of The Spirit’ is a remarkable piece of music on a number of levels. It is a remarkable demonstration of enormously high quality musical integrity. And it is remarkable that the composer, arranger and producer has, in the words of Marc Béziat’s bio, only recently discovered and begun to develop his musical skills.

‘Victory of The Spirit’ is also breathtaking from the outset and displays significant musical virtuosity. The Minor scale introduction builds to a crescendo which, with a delicate touch of echo, conveys an almost cathedral-like expectation, a promise of greatness to follow.

The section ‘The Yearning of The Soul’ in particular develops phrases that are delightfully reminiscent of Mussorgsky’s ‘Pictures of an Exhibition’ (Emerson Lake and Palmer).

The arrangements in this work are simple yet pleasing, although the lack of consistency in the compositional phraseology sometimes makes listening a challenge. Perhaps the composer would be advised to steer a line either closer to the avant garde or stay closer to traditional classical principles, rather than fluctuate quite so much between the two?

Aside from this minor note on stylistic consistency, the values of ‘Victory of The Spirit’ are obvious. This is an opus in which the composer has taken extraordinary care. The precise nature of the score and the detailing of the notational values are examples of extreme attention to detail. The composer’s musical ability and his sheer enthusiasm are both clearly obvious throughout every stage of his work; frankly, it is these qualities that make listening to Victory of The Spirit far more enjoyable than listening to many more widely-recognised works in this genre.

In any musical field bold structural changes are difficult to carry off. In the pure classical genre there are few composers who have routinely achieved this with success (Dvorak, Bartok, Stravinsky). Classical composers who have successfully developed thematic pictures as a process are even more rare (notably Sir Edward Elgar’s ‘Enigma Variations’; Johannes Brahms’s Variations on a Theme of Paganini). Marc Béziat ‘s work is also an attempt to develop the thematic process and it is staggering that a composer of relative musical immaturity has achieved such impressively high standards.

Summary:
With ‘Victory of The Spirit’, Marc Béziat has given his audience a modern-day classical work that successfully captures a variety of moods, a range of styles and a rich diversity of techniques. His work is never unpleasant, usually captivating and always a complete joy to listen to. The compositional technique varies between pure classical and modern classical but even this variance is not unlikeable. This listener is torn between seeing the composer’s potential in the purely classical arena or following a path in the classical/film accompaniment world. However, given the relatively short time that Marc Béziat has begun to develop his skills over, whichever path he chooses to tread, he will be an inspirational figure. I look forward to following his work with great interest. If Marc Béziat can entertain us so well now, what will he be doing for us in ten years? - Brennig Jones

Victory Of The Spirit is a series of electronic virtual reality orchestra and chorale performances. It is unusual to hear electronic music used to create new classical compositions, but I wouldn't be surprised if it is something of the wave of the future. The compositional style ranges from overly simplistic to complex Stavinsky-esque orchestral movements. Beziat seems to have a strong feel for the chorale pieces in particular. While there are no words in these "sung" parts, they are among the most beautiful and enriching songs on Victory Of The Spirit.

After a short introduction entitled The Forces, Victory Of The Spirit moves into Crossroads. Lilting orchestration and strong themes lift this piece on air; it comes off sounding like something that belongs in a historical epic movie (think Braveheart). The Yearning Of The Soul is the first choral piece on the CD. It has a distinctly baroque sound and is hauntingly beautiful. Inner Work is a sonata for violin and piano and amounts to a musical light snack. Entertaining but not deep, it makes for a nice transition piece.

I would recommend The First Steps as a key piece on Victory Of The Spirit. The song combines aggressive orchestration and chorale parts in conjunction with huge themes and unusual song construction. This is the sort of composition a music theory class would have a ball with. From the high of First Steps we move on to Dance Of Eternity, where the theme becomes confused or muddled at times. This piece sounds like it started out as a great musical idea but never quite came to fruition.

Desert And Hope is another composition of note: Dark and resilient, it's a coming home of sorrows mixed with the stirring of hope. This piece is particularly moving and could be the sort of composition that would translate well to a real live orchestra. The Decision returns to the European choral tradition and serves as an appetizer to Perseverance. Perseverance is perhaps the keynote recording on Victory Of The Spirit. Igor Stravinsky's spirit dances through Perseverance as a musical mentor and catalyst.

Moving on to The Coronation, Beziat sends an interesting message. This Coronation is a celebration of necessity rather than of joy. The structure and energy of this piece could be interpreted as an intensely political comment by a cynical mind. We are given respite from this mechanical optimism by Spirit Of Freedom, which instills a distinct image of daylight breaking over the mountaintop and slanting into the long dark valley the inhabitants of our musical story have resided in.

Unfortunately, Beziat leaves us on a less than definitive note. Deliverance seems to be a confused closing. The thematic makeup doesn't exactly belie the title, but fails to fully support it. Deliverance is an enigmatic answer to an un-posed question that fails to shake the shade of ambivalence.

Marc Beziat has created an epic album full of some amazing and beautiful moments and a couple of songs that never quite actualized. The pulp that makes up the middle ground is solid compositionally and enjoyable to listen to. Hearing Victory Of The Spirit has left this writer wanting to hear Beziat's compositions performed by a full orchestra. My guess is that some things would need to be filled out or re-imagined to work in a concert hall, but on the whole Beziat's creation stands as solid work. Bravo. - Wildy Haskell

After reaching into my mailbox and ripping open a manila envelope, I find myself holding a CD that visually peaks my curiosity. There appears to be a white circle on the cover which is emanating rays of different shades of purple. No artist name, no album name…just the light. On the binding of the CD is the word Consolation. I can guess that this is the name of the album, but still no real indication of what my ears should expect. I then turn to the back of the CD and find a small clue as to what this album might sound like. The word Consolation is followed by a Prelude entitled The Secret Nuptials. Following the prelude are nine more tracks which are written in roman numerals and accompanying song titles.

Lastly, this track listing ends with a closing caption of “Transition Fullness,” very interesting indeed. On the bottom I find just a small hint as to who is responsible for this. It reads “A music composed by Marc Beziat “. This is a bold move in a music business where name is everything and the more you can promote yourself, the better. This tells me that Marc is relying on his music to speak for him. Let’s hear what he has to say…

We begin with the opening track which starts us off with a very minimal piano sound which slowly gets heavier and deeper in nature. Strings rise with a chorus of voices then quickly fade away. This opening track is entitled, The Secret Nuptials and is referred to on the album as the prelude. We then continue our journey with a song called Edge of the Lake Melody. This is a very uplifting piece that is dominated by strings and instantly, I am sent into a daydream. Next we reach the song that Marc calls, The Wound Healed. This piece involves many different transitions of sound with equal parts of horns, strings, piano, chorus, and woodwind instruments; a truly pure sound. Solace is the next stop on what has become an unprecedented journey. This song reminds me of a ballroom waltz. It is a little slower in nature and overall carries a very majestic quality. We now find ourselves midway through Consolation and on to the song Unification Singing, where we find ourselves rising above and taking flight. Fraternity is exploring the soul and begins to race midway and then closes in perfect harmonies. Our next song, The Allayed Walk, focuses more heavily on strings and woodwind instruments with a little piano thrown in for a splash of color on the leaves. Now for Consolations next track, Beautiful Nature; this song is just that, the beautiful nature of sound. Cello & deep undertones are showcased here and are a perfect example of why the cello is one of my favorite instruments. I know it’s one of yours too. Next we move onto Serenity which is a quieter piece. This song allows me to reach into a deep meditative state and look back on the entire album thus far. It also serves as an introduction to the last two pieces composed on Consolation: The Free Movement & Fullness. These songs serve as an epic ending to this audible adventure. They rise to climax in an aura of voices all destined toward the heavens.

After listening to Consolation I decided to do a little research on Marc Beziat. The most astonishing thing that I found was that March Beziat encountered music in his 28th year. After listening to his album, Consolation, It is difficult to believe that the composer of this music has not been crafting his skill for a lifetime. Consolation is an uplifting experience for the ears. This is the sound of hope. - Kenn Deaton

It’s hard to imagine that the intricate classical compositions that grace “Consolation” were created by someone with not much more than three or four year’s of experience as a composer. But it is true. Marc Beziat, a native of southern France, is partly self-taught. He also spent two years at Polyphonies, a school of musical composition, where he studied polyphonic music, the simultaneous sounding of two or more melodic lines, a musical style that dates back to the late Middle Ages and Renaissance. “Consolation” is the sequel, or as he calls it, the “soul mate” to his well-received first CD “Victory Of The Spirit”. His album titles, as well as the names of the songs, reflect the beauty and harmony that he seeks to express in his music.

If I had to choose one word to describe Marc Beziat’s music, it would be cinematic. When I first put on the CD, I kept waiting for an imaginary film to start any second. With eyes closed it was easy to visualize movie scenes that would go perfectly with this evocative music as the soundtrack. It’s not surprising that one of his biggest influences is Canadian composer Howard Shore, and in particular, his work on Lord Of The Rings. While also being influenced by contemporary composers such as Daniel Balavoine and David Nevue, Marc cites composers from the Baroque Classical era such as Beethoven, Bach, and Vivaldi as having made a deep impression on him.

However, unlike the classical composers of old who wrote out their music on parchment paper with a quill pen, Marc makes use of the wonders of modern technology such as computers, notation software, and synthesizers. While the term “synthesizers” may bring to mind other-worldly sounds and contemporary electronic music, Marc uses them for strictly realistic sounds such as piano, flute, woodwinds, strings, and choirs, as would be found in classical music. He pays particular attention to the creation of the choral sounds, which play a prominent role in his music. One of the most interesting things about modern music software is that it allows one to make adjustments in notes, dynamics, feel, etc., which in Marc’s words, “makes composing in this form more related to sculpting than to performance”.

Another aspect of the music that makes it more unique in the classical genre is the relatively short length of the compositions. Of the eleven tracks on the CD, the longest is just under four minutes. However, they often flow from one to another creating the impression of movements in a symphony. Although the song length may be condensed, there is a great deal of animation, dynamics, and thematic evolution within the structure of each piece, and the album overall evokes a wide range of feelings from serene and comforting to dramatic and powerful. It is precisely this yin/yang counterpoint that creates the magic of the music. According to Marc, “whether our experiences are sometimes painful or sometimes exhilarating, everything can be transformed into beauty, and in the process, we are ourselves transformed.”

Music is meant to be experienced, so a written description of it cannot adequately convey the nuance and impact. Writing about music is like dancing to architecture. Marc speaks eloquently about his music, but finally concludes: “what else could I say... eventually, music always speaks better than the words.” Indeed it does. - Michael Diamond

Light and weightless this music is like a butterfly which flies about from one beautiful flower to another. Marc Beziat’s melodies are filled with calm and inner harmony. They allow the listener to relax and to cure spiritual wounds. And the flavor of medieval romanticism is felt in Marc Beziat’s music.

The album “Victory of the Spirit” is very well composed. Compositions flow smoothly from one to another and you follow the rich and vivid fantasies of the artist.

The music of “Victory of the Spirit” is infused with joy and optimism. Marc Beziat appeals one to live, not to die. It is felt in every note of his very integral project.

Marc Beziat’s album “Victory of the Spirit” is the music which revives life’s energy and inspires for unconditional creation. - Serge Kozlovsky

In the brief biographical notes accompanying his debut CD, French composer Marc Béziat claims to have discovered his love of music just a few short years ago, spending the intervening years gathering the necessary skills and techniques to bring his creative notions to fruition. The resulting Victory of the Spirit, then, is all the more impressive—its epic themes and technicality suggest the work of a seasoned, if not veteran composer. Though Victory is performed by a virtual keyboard, Béziat obviously composed the 14 instrumental selections with much larger ambitions: The music ranges from chamber music to grand symphonic works, utilizing the entire range of orchestral voices, from strings to woodwinds, not to mention a few pleasant piano interludes and synthesized human voices. While it would be nice to hear these works borne out with “real” instruments, it is clear that, for Béziat, the release of this CD is indeed a victory of the creative spirit. - John Brodeur