Music Fonts 

Published works 


Georges Antoine 

Jean-Pierre Armanet 

Paul Barras 

Tiziano Bedetti 

Michel Béro 

Jean-Louis Cadée 

Leonello Capodaglio 

Yves Carlin 

Dominique Charle 

Thierry Chleide 

Marcel Cominotto 

Roger Cornelis 

Mathieu Debaar 

Christian Debecq 

Firmin Decerf 

Paul Detiffe 

Berthe di Vito-Delvaux 

Georges Dubois 

Albert Dupuis 

Luc Dupuis 

Michel Fourgon 

Pierre Froidebise 

Maurice Guillaume 

André Jadot 

Mathieu Jodin 

André Klenes 

Lucien Lambotte 

Louis Lavoye 

Michel Leclerc 

Guillaume Lekeu 

Jean-Luc Lepage 

Alain Levecq 

Pierre Liémans 

Albert Lomba 

Guy-Philippe Luypaerts 

Anne Martin 

Raymond Micha 

Marian Mitea 

Onofrio Palumbo 

Désiré Pâque 

Jean-Dominique Pasquet 

Carlos Peron Cano 

René Potrat 

Henri Pousseur 

Jean Rogister 

Paul Rouault 

Paul Sana 

Pierre Schwickerath 

Edouard Senny 

Claude Siquiet 

Philippe Verkaeren 

Patrick Wilwerth 

Pirly Zurstrassen 

  Mathieu JODIN (Dison 1878 - Verviers 1960 )

MATHIEU JODINMathieu Jodin was born in Dison on February 20,1878 and he died in Verviers on January 16,1960. At a very young age already, Mathieu Jodin showed his natural aptitude for music, poetry and natural sciences. in 1886, he undertook his music studies at the School for Music in Verviers where he worked the violin and later the viola, upon the advice of Director Louis Kefer. His studies were rewarded by a first prize of viola and a second prize of bassoon in 1895. In 1898, he obtained a 1st Prize in harmony and he also translated the Counterpoint Treaty of Jadassohn, published by Breitkopf and Härtel, into French. Mathieu Jodin was a graduate of the Higher School for Textiles in Verviers and his career as an engineer at the Peltzer company slowed down his musical activities very little only. He also composed numerous works in a great variety of forms, including an important production of religious music. Mathieu Jodin had to discontinue his activities as an instrumental performer during the period between the two World Wars because of an attack of rheumatism, but up to the very end, he retained the use of his considerable mental faculties, together with great enthusiasm and a desire to learn, supported by a firm and humanistic way of thinking. In his final years, he became tempted by dodecaphonic music.

    Philippe Bayard
Translated by Luc Van Loock