Music Chapel - Askonas Holt

Music Chapel
Partitura Project
Partitura
Il y a ce que l’on peut dire de la musique, ce que l’on peut mettre en oeuvre pour tenter de la saisir et l’enseigner, et il y a ce qui échappe à tout cela : la grâce… cet imprévisible miracle qui en fait la valeur véritable. Ce
«Je ne sais quoi» qui pousse le compositeur à se mettre à l’oeuvre. Qui invite le musicien à s’engager corps et
âme pour maîtriser son instrument et approfondir son écoute. Qui attire les amateurs à se déplacer vers le
lieu du concert, pour prendre part à un évènement précieux : la transmission de quelque chose que l’on ne
peut pas dire, et qui pourtant fonde chacun. Car l’exigence de cette transmission n’est pas seulement esthétique, mais éthique : comme tout art, la musique participe de ce mystère qui fait l’humain.
Si les écoles et les conservatoires ont pour fonction de servir les dimensions analysables et enseignables de
la musique, l’évènement de la transmission est d’une autre nature, plus subtile, d’une dimension délicate à
approcher. Chacun sait que l’on ne peut domestiquer la grâce.
C’est en réponse à cette question que la Chapelle Musicale et Maria João Pires proposent le projet Partitura.
Il s’agit de mettre en oeuvre les conditions favorables à la transmission, en favorisant l’écoute réciproque
entre les générations : proposer à des musiciens reconnus de parrainer des jeunes musiciens prometteurs,
les invitant - comme le nom du projet peut le suggérer - à partager la scène de concert. C’est en effet là que
peut s’accomplir ce miracle par lequel l’écoute du public, conjuguée à celles des interprètes, peut s’ouvrir à
celle du compositeur, en traversant d’un coup l’espace et le temps. Permettant de déjouer les méfaits du «star-system», de découvrir les promesses de la génération montante,
d’offrir une perspective nouvelle sur la fonction de la musique et d’approfondir le sens de ce rituel nommé
concert, le projet Partitura trouve avec la Chapelle musicale un point de départ particulièrement adapté, en
résonance avec son histoire et la haute exigence de son ambition. Car il s’agit de relever un défi, tant pour
une école musicale, un compositeur, un musicien, que pour toute personne pouvant faire partie du public :
réveiller l’écoute ce qui ordinairement nous échappe, et qui pourtant nous donne sens.
Proposition de programmes Partitura
Ashot Khachatourian & Maria João Pires
Julien Libeer & Maria João Pires
Ashot Khachatourian
Maria João Pires
G. Kurtág
Játékok (Extract)
Julien Libeer
Maria João Pires
F. Schubert
Allegro in A minor, “Lebensstürme”, for piano 4 hands, D.947
Ashot Khachatourian
F. Schubert
Sonata No. 20 in A major, for piano, D.959
Julien Libeer
M. Ravel
Suite for piano, “Tombeau de Couperin”
Maria João Pires
F. Schubert
Sonata No. 21 in B flat major, for piano, D.960
Maria João Pires
F. Schubert
Sonata No. 21 in B flat major, for piano, D.960
Or
Julien Libeer
Maria João Pires
F. Schubert
Allegro in A minor, “Lebensstürme”, for piano 4 hands, D.947
Julien Libeer
L. van Beethoven
Sonata No. 30 in E major, for piano, op. 109
Maria João Pires
L. van Beethoven
Sonata No. 32 in C minor, for piano, op. 111
Julien Libeer
Maria João Pires
F. Schubert
Fantasie in F minor, for piano 4 hands, D.940
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Julien Brocal & Maria João Pires
Pavel Kolesnikov & Maria João Pires
Maria João Pires
C. Debussy
Pour le Piano L. 95
Maria João Pires
L. van Beethoven
32 variations in C minor, for piano
Julien Brocal
M. Ravel
Miroirs
Pavel Kolesnikov
F. Schubert
Musical moments, op. 94, D. 780
Julien Brocal
L. van Beethoven
Sonata No. 26 in E flat major, for piano, “les Adieux”, op. 81a
Pavel Kolesnikov
A. Scriabin
Toward the flame, op. 72
Maria João Pires
L. van Beethoven
Sonata No. 32 in C minor, for piano, op. 111
Pavel Kolesnikov
A. Scriabin
Sonata No. 4 in F sharp major, op. 30
Maria João Pires
L. van Beethoven
Sonata No. 32 in C minor, for piano, op. 111
Or
Maria João Pires
F. Schubert
Sonata No. 21 in B flat major, for piano, D. 960
Pavel Kolesnikov
R. Schumann
Fantasy in C major, op. 17
Maria João Pires
C. Debussy
For the piano, L. 95
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Kaito Kobayashi & Maria João Pires
Kaito Kobayashi
F. Schubert
Sonata No. 13 in A major, for piano, op. posth. 120 D. 664
Kaito Kobayashi
C. Debussy
Estampes
Kaito Kobayashi
C. Debussy
L’ Isle Joyeuse
Maria João Pires
F. Schubert
Sonata No. 21 in B flat major, for piano, D. 960
Maria João Pires
Kaito Kobayashi
F. Schubert
2 Trios and 2 Ländler, D. 618
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Programmes Récital Solo
Julien Brocal
Concertos
J. S. Bach
Suite anglaise No. 3 in G Minor, BWV 808
F. Chopin
Concerto No. 1 in E minor, op. 11
F. Chopin
Sonata No. 2 in B flat minor, op. 35
W.A. Mozart
Concerto No. 12 in A major, for piano, K. 414
F. Chopin
24 Préludes op. 28
W.A. Mozart
Concerto No. 21 in C major, for piano, K. 467
Or
L. van Beethoven
Concerto No. 5 in E flat major, for piano, op. 73
F. Chopin
3 nocturnes, op. 15
M. Ravel
Miroirs
F. Chopin
24 Préludes op. 28
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S. Rachmaninoff
Concerto No. 2 in C minor, for piano, op. 18
Julien Libeer
Concertos
J. S. Bach
Suite anglaise No. 3 in G Minor, BWV 808
L. van Beethoven
Concerto No. 4 in G major, for piano, op. 58
M. Ravel
Suite for piano, “Tombeau de Couperin”
F. Chopin
Concerto No. 1 in E minor, for piano, op. 11
F. Couperin
Les Barricades Mystérieuses
E. Grieg
Concerto in A minor, for piano, op. 16
F. Liszt
Bénédiction de Dieu dans la Solitude
B. Bartok
Concerto No. 3 for piano, Sz. 119
A. Skriabin
Sonata No. 4 in F sharp major, op. 30
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Ashot Khachatourian
Concertos
D. Scarlatti
Sonata in A major, for piano, k. 212
F. Chopin
Concerto No. 1 in E minor, for piano, op. 11
D. Scarlatti
Sonata in D minor, for piano, K. 213
F. Chopin
Variations on “La Ci darem La Mano”, op. 2
J. Haydn
Sonata No. 52 in E flat major, for piano, Hob.XVI.52
L. van Beethoven
Concerto No. 3 in C minor, for piano, op. 37
F. Chopin
Ballade No. 1 in G minor, for piano, op. 23
W.A. Mozart
Concerto No. 20 in D minor, for piano, K. 466
F. Chopin
Scherzo No. 2 in B flat minor, for piano, op. 31
S. Rachmaninoff
Concerto No. 2 in C minor, for piano, op. 18
S. Rachmaninoff
Musical moments, op 16.
S. Rachmaninoff
Concerto No. 3 in D minor, for piano, op. 30
S. Prokofiev
Sonata No. 4 in C minor, for piano, op. 29
R. Strauss
Burleske in D minor
Or
L. van Beethoven
6 variations, op. 34
L. van Beethoven
Sonata No. 11 in B flat major, for piano, op. 22
F. Schubert
Sonata No. 20 in A major, for piano, D 959
S. Prokofiev
Toccata in D minor, op. 11
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Pavel Kolesnikov
Concertos
W.A.Mozart
Fantasy in C minor, KV. 396
W. A. Mozart
Concerto No. 9 in E flat major, “Jeunehomme”, for piano, KV 271
R. Schumann
Fantasy in C major, op. 17
L. van Beethoven
Concerto No. 1 in C major, for piano, op. 15
J. Haydn
Sonata No. 52 in E flat major, for piano, Hob.XVI.52
L. van Beethoven
Concerto No. 4 in G major, for piano, op. 58
A. Scriabin
Toward the flame , op. 72
P. I. Tchaïkovski
Concerto No. 1 in B flat minor, op. 23
A. Scriabin
Sonata No. 4 in F sharp major, op. 30
S. Rachmaninov
Concerto No. 3 in D minor, for piano, op. 30
L. van Beethoven
Sonata No. 32 in C minor, for piano, op. 111
S. Rachmaninov
Rhapsody in A minor, on a theme by Paganini, op. 43
Or
M. Ravel
Concerto No. 2 in D major, for the left hand
L. van Beethoven
Sonata No. 14 in C sharp minor, «Mondscheinsonate»,
for piano, op. 27 No. 2
F. Schubert
Musical moments, op. 94, D. 780
R. Schumann
Nachtstücke, op.23
A. Scriabin
Toward the flame, op. 72
A. Scriabin
Sonata No. 4 in F sharp major, op. 30
7
Kaito Kobayashi
Concertos
R. Schumann
Fantasy in C major, op. 17
W. A. Mozart
Concerto No. 20 in D minor, for piano, KV 466
L. van Beethoven
Sonata No. 26 in E flat major, for piano, op. 81a
L. van Beethoven
Concerto No. 3 in C minor, for piano, op. 37
L. van Beethoven
32 variations in C minor, for piano
J. Brahms
Concerto No. 1 in D minor, for piano, op. 15
R. Schumann
Etudes Symphoniques, op. 13
S. Rachmaninov
Concerto No. 2, in C minor, for piano, op. 18
D. Shostakovitch
Concerto No. 2 in F major, for piano, op. 102
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Biographies
Maria João Pires
Born on 23 July 1944 in Lisbon. Played in public for the first time in
1948. Studied with Campos Coelho and Francine Benoît, and later in
Germany with Rosl Schmid and Karl Engel.
In addition to her concerts, recorded for Editions Erato for fifteen years
and has recorded for Deutsche Grammophon for twenty years.
Since the 70s, has devoted herself to consideration of the influence
of art on life, the community and education, seeking to discover new
ways to implement these teaching methods in society. Seeks new
forms of transmission that respect the development of the individual
and of cultures, in opposition to the destructive, materialistic logic of
globalisation. Created the Centre for the Study of the Arts in Belgais in
1999. Promoted this philosophy in Salamanca and Bahia in Brazil.
In 2012, joined the Queen Elisabeth Music Chapel and developed two
additional projects in parallel there, the Equinox project devoted to the
creation and development of choirs of children from underprivileged
environments, and the Partitura Project, the aim of which is to create
an altruistic dynamic between artists of different generations and to
offer an alternative in a world too often focused on competitiveness.
“This project is a natural extension of my research and one of the possible responses to my greatest concern, namely the future of classical
music and of those who will ensure its continuation.”
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Julien Brocal
Ashot Khachatourian
“Poetry, spontaneity, restraint, and a profound sense of structure and
awareness of sound are rare qualities that he displays.”
Maria João Pires
“How can I describe him? A force, a truth, an energy, a passion, a limitless talent.”
Maria João Pires
Born on 23 May 1987 in Arles, France, Julien began learning piano
at the age of 5 and was performing onstage from the age of 7. He
was trained by Erik Berchot at the Conservatoire National de Région
de Marseille and Rena Shereshevskaya at the Ecole Normale de Musique de Paris Alfred Cortot. During his training, he received support
from the Zaleski Foundation, the Assophie Association and the Safran
Foundation. In January 2013 he was discovered by Maria Joao Pires
in a master class at the Cité de la Musique in Paris; she invited him
to develop artistic projects in residence at the Queen Elisabeth Music
Chapel and to participate in the birth of the Partitura Project in 2014.
Born on 15 March 1984 in Yerevan, Armenia, into a family of musicians. He discovered the piano at the age of 4 with his father and
was performing in public from the age of 8. He trained with Valentina
Nikolaevna and Elena Galustova in Armenia, then later in Switzerland
with Gérard Wyss and Elisso Virssaladze. At the Queen Elisabeth Music
Chapel he met Maria João Pires, who invited him to participate in the
creation of the Partitura Project.
“I would never have believed it possible that such an endeavour could
exist. The birth of the Partitura Project is a matter of great pride and a
source of profound inspiration in my personal and artistic life. This initiative puts Maria at the head of a great altruistic chain, with the artistic
ideal of transmission and solidarity between artists and individuals in
our world. I will be committed to supporting this utopia in the process
of becoming reality.”
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“The meeting with Maria gave me the confidence and the inspiration
to transmit the original message of the music, and the desire to become part of this community of artists became undeniable.”
Pavel Kolesnikov
Julien Libeer
“An innate talent, fluid playing and an approach to music that is always
honest, aware, and imbued with an aesthetic ideal.”
Maria João Pires
“The complete musician, who unites, at any musical moment, a true
understanding of the piece, a solid intellectual approach and an infallible instinct for the impalpable.”
Maria João Pires
Pavel Kolesnikov was born in Siberia into a family of scientists in 1989.
At the age of 6 he asked his parents to take him to a music school for
studying violin. Taking piano as his second instrument, only ten years
later he decided to give up violin and to concentrate solely on piano.
He was lucky to study with many great teachers, absorbing and balancing sometimes very different approaches. After graduating from the
Moscow Conservatory where he studied with Sergei Dorensky, Nikolai
Lugansky and Pavel Nersessian, he went to London to continue education at the Royal College of Music and he is studying now at the Music
Chapel with Maria João Pires.
“I am extremely grateful to my teachers, who gave me many things I
would never achieve without them, and I always felt that they came
to my life at the right moment. At the same time I am very ‘greedy’ for
learning, and it would be true to say that I learned as much from the
musicians I never met, but who I admire – Alfred Cortot, Dinu Lipatti,
Emil Gilels, to name a few.”
Meeting Maria João Pires was an amazing play of chance and unexpected coincidences, and became life-changing in many ways.
“In Maria João I found a person who inspires me enormously, but also a
person who has an ability to bring a light onto some difficult questions
that torture musicians of my gene-ration. With her life example she
made me to believe irreversibly that there is no stronger power than
sincerity, and that being yourself is the only possible form of existence
– in art same as in life.”
Born in 1987 near Brussels, Belgium, JL’s earliest musical memory was
the famous documentary of Leonard Bernstein recording West Side
Story.
The piano, which he took up at age 6, quickly became the faithful companion for expressing a love of music that, until today, thrives as much
on opera, orchestra and chamber music as on the piano repertoire.
During five decisive years, French-Polish pedagogue Jean Fassina
was the patient, demanding, wise teacher that any aspiring musician
should have the chance to encounter. Another inspiration to Julien has
been pianist Dinu Lipatti, whose integrity, musicianship and highest
ethics in art continue to be a beacon. Julien has made it into a point of
honour to defend regularly the composer Lipatti as well. He is studying
at the Music Chapel with Maria João Pires.
“Maria has given me a couple of answers to questions that had been
haunting me for a while. How to transmit of our cultural heritage to a
younger generation? Being a part of Maria’s Equinox project, accompanying young and often disfavored children on a weekly basis in a
choir, I’ve experienced how a musician can be useful far beyond lonely
practice and concert stages. My desire to make music based on friendship and confidence is finding its answer in the Partitura Project.”
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Kaito Kobayashi
“An intact and sublime talent.”
Maria João Pires
Born in 1995 in Yokohama, Japan, Kaito Kobayashi began his music
studies in the Yamaha Music School at the age of four, taking lessons
in piano, composition, and general music theory, and since 2008 till
2014, he had been studying at the Yamaha Master Class. In 2014, he
graduated from the Ueno Gakuen Senior High School music courses.
He met Maria João Pires during a workshop she gave in Tokyo, without
any doubt she invited him to be a part of the Partitura Project in the
Music Chapel.
“I studied music since the very young age, I feel lucky to have meet MJ
Pires and that I could listen to one of her concerts. Her music is every
inch naturally, she always eliminates the hopeless things and leads me
to genuine music. I’m sure that it will become wonderful experience in
my musical life to be a part of the Partitura Project.”
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Contact
Bernard de Launoit, Executive President
GSM: +32 (0)475 23 94 40 - [email protected]
Melanie Moult, Senior Manager
Tel: +44 20 7400 1751 - Fax: +44 20 7400 1799 - [email protected]
Sophie van der Stegen, Project manager
GSM: +32 (0)471 77 77 13 - [email protected]
Tel: +32 (0)2 352 01 14 - Fax: +32 (0)2 351 10 24
Susie Murray, Assistant Artist Manager
Tel: +44 20 7400 1744 - Fax: +44 20 7400 1799 - [email protected]
Queen Elisabeth Music Chapel, public interest foundation
Under the Honorary Chairmanship of Her Majesty Queen Paola
Correspondence: Chaussée de Tervuren 445 - 1410 Waterloo - Belgium
Askonas Holt Limited
Lincoln House - 300 High Holborn - London WC1V 7JH - England
www.musicchapel.org
www.askonasholt.co.uk