The manuscript of the Études of Claude Debussy in its context 1915

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“Historically informed” interpretation of piano solo and 4-hand works by Claude Debussy. Reading of the various sources and critical editions, interpretation classes on historical pianos, listening to historical recordings reflecting different interpretational traditions.

> Faculty

> Places available for

> Presentation

> Method

> Practical instruction

> Theoretical instruction

> Calendar

> Fee Information

Faculty

Alain Planès pianist, partner to M. Pressler, G. Sebök, W. Primrose, J. Starker in the United States. Solo pianist with the Ensemble Intercontemporain under the direction of Pierre Boulez, and at the same time interested in Chopin on a historical piano, he has made a complete recording the Pieces for piano by Debussy with Harmonia Mundi.

Alexei Lubimov pianist, the last student of Heinrich Neuhaus at the Conservatoire Tchaikovsky of Moscow, premiered works by Cage and Riley, Pärt, Denisov, Schnittke there. First performer on historical pianos within the Soviet Union and Director of the Department of Early Music at the Tchaikovsky Conservatory, he has recorded the Preludes by Debussy with ECM.

Paolo Dal Molin Musicology researcher at the Universities of Cagliari and Nice, author of Papers on Boulez, Debussy.

Places available for

› 10 pianists

Master 1 level and above

Classes in French, English, German or Russian

Presentation

The François Lang Music Library posesses the autograph manuscript for several sketches of Claude Debussy’s Études, which will be the starting point for the session.

Supervised by Paolo Dal Molin, musicologist participating in the creation of the “new” Durand critical edition of Debussy’s work, A. Planès and A. Lubimov, coming from two traditions of interpretation, French (via the direct Long/Février lineage) and Russian (the last student of Heinrich Neuhaus in Moscow) will propose master classes that will question the texts (the sketches in the François Lang Music Library and the French and Russian editions) as well as historical recordings from the 1920’s or 1940’s or the specificity of historical (Bechstein, Pleyel, Steinway,…) and modern pianos in order to sense and come closer to the “Debussy touch.”

“How could one forget the suppleness, the caressing, the depth of his touch! At the same time he glided with such penetrating gentleness over the keyboard, he held it tightly and coaxed from it accents of the most extraordinary expressive power… He almost always played in half-shades, but with a full, intense sonority, with no harshness of attack, like Chopin…”
Marguerite Long

The harmonic and textural modernity that are specific to Debussy’s language require a particular technique at the piano that opens the door to the interpretation of all the music of the 20th century.

Method

Instruction will be given alternately as group lessons, in the form of workshops, and in individual lessons.

2 individual lessons with Alain Planès, 2 individual lessons with Alexei Lubimov and 2 lessons with both at once.

Practical instruction

Repertory: 3 Études freely chosen and 5 pieces from different pianistic epochs within Debussy’s work, among them one from the Préludes, one from the Images and a Suite, as well as a four-hand piece.

Theoretical instruction

Lecture by Paolo Dal Molin on the poetic universe (literature, poetry, painting) and the revolutionary style of Claude Debussy.

Comparative listening to the performance of works of Debussy from 1920’s to 40’s in order to grasp the evolution in interpretation; the French and Russian traditions in collaboration with the Centre de Documentation Debussy.

Calendar

Audition

Wednesday 4 and Thursday 5 April 2012

for applicants not residing in France: a live recording of the works to be presented, to be sent by 15 March 2012

works to be presented: a free choice of 1 Étude and 1 Prélude, one piece from Image, or a movement from Suite bergamasque or Pour le piano or Estampes

Session

from Tuesday 14 through Sunday 19 August 2012
for 6 days of instruction

Public presentation

Fenêtre sur cour[s] on Sunday 19 August 2012 at 5 pm

Fee Information

The cost-sharing fee is made up of a compulsory registration fee (including membership in the Association des amis de Royaumont and access to the François Lang Music Library), tuition, and boarding expenses.

The Royaumont Foundation takes over expenses for accomodations (room, board and breaks) during the entire duration of the training.

An AFDAS agreement is pending for this session.

Financial aid for tuition

› for casual workers in the entertainment field (intermittents du spectacle): through the AFDAS under the following conditions: 2 years in activity, 48 fee units (days) within France, as attested by Congés Spectacles certificates and payslips.
› for salaried employees (full or part time): via their employers’ continuing education programs.
› for the unemployed: instructions available from the local funds or Pôle emploi.
› for RMI beneficiaries: via authorities in each département (Conseil Général) – contact the appropriate services for further information.
If you are eligible for such financial assistance, only the enrolment fee remains at your expense, that is in the amount of 174 €.

Scholarships

The Association des amis de Royaumont grants scholarships to instrumentalists born after 1st January 1987 who do not yet have a regular professional activity.
This grant is made during Board meetings of the Association on the basis of a portfolio (resume, letter of motivation).
If you are eligible for financial aid from the Association des amis de Royaumont, a total amount of 174 € remains at your expense.

For participants who cannot qualify for any other financial aid, the Foundation grants scholarship stipends on request and based on a portfolio.
If you are eligible for this scholarship from the Association des amis de Royaumont, a total amount of 234 € remains at your expense.