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Classical, Jazz, Film Music and French Song
Raphaël, you are a completely "set apart " pianist. Everyone who has already heard you says that! Can you describe the type of recital that you give?
A long time ago, I attempted to modify the way people think about "classical" concerts. I have observed how the public is moving further away from the scholarly notion of music. Young people are very intimidated by the cold style of the classical concert and as a result, they reject it. The media and communication sectors are no longer unaware of the lack of interest among the population. Nevertheless, this
music is unbelievably beautiful and accessible. There is no real elitism either in the classical style or in jazz! Therefore, it isn’t such a serious matter if young people are deserting concert halls. All that needs to be done is to dust off the image of the concert form without modifying its basic concept.
Which means...
My endeavor is to construct a program that will be as eclectic as possible. Playing the music of Bach, Beethoven and Chopin, accompanied by Bill Evans and Ennio Morricone, or even my own personal compositions for the public, is a jubilant experience. I don’t belittle concerts that are centered on a particular style or composer, but today, there is a need that cries out from the very source of the concert form that will
allow people to become familiar with different styles.
And you are also active in French songs !
French songs and lyrics are a wonderful art! The strength of the words, their beauty… Brassens was a great poet who was talented in putting his words into music. Such a talent is not given to everyone. For my part, I have always tried to remove myself from the simple notion that songs and lyrics are a minor artistic form. Minor in relation to what? It’s a different art. That’s all!
You have also played "solo" parts of great jazz pianists. This is practically never done! How did you come up with this idea?
While listening to tremendous pianists like Evans or Tatum, I quickly realized that their improvisations deserved to be interpreted, based on the original recording. This is not to criticize the very essence of improvised jazz, which I deeply respect, but it’s rather a personal way to defend and recognize the universal and unique quality of these great artists.
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