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 6

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]

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