Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.



Published on

Published in: Education
  • Be the first to comment

  • Be the first to like this


  1. 1. ENGLISH  4   LISTENING   MUSIC   HELENE  GRIMAUD     FROM  :  EURONEWS,  24.8.2010                             1   2   3   4   5   6   7   8   9   10   11   12   13   14   15   16   17   18   19   20   21   22   23   24   25   26   27   28     Born:  November  7,  1969  -­‐  Aix-­‐en  Provence,  (south  of)  France   The   French   pianist,   Hélène   Grimaud,   studied   with   Jacqueline   Courtin   at   the   conservatory   there   and   subsequently   in   Marseille   with   Pierre   Barbizet.   At   the   age   of   13   she   was   accepted   by   the   Paris   Conservatory   where   she   won   the   first   prize  in  piano  in  1985.  In  July,  immediately  after  graduating,   she   recorded   Sergei   Rachmaninov’s   Sonata   No.   2   and   the   complete   Etudes-­‐Tableaux   Op.   33   (Grand   Prix   du   disque,   1986).   She  studied  additionally  with  György  Sándor  and  Leon  Fleisher.   The   year   1987   marked   a   decisive   turning   point   in   her   career   with   appearances   at   MIDEM   in   Cannes   and   at   the   piano   festival   La   Roque   d’Anthéron,   her   first   recital   in   Tokyo   and   Daniel   Barenboim’s  invitation  to  perform  with  the  Orchestre  de  Paris.   Hélène   Grimaud   has   since   performed   with   many   of   the   world’s   major  orchestras  and  renowned  conductors.     One  of  her  first  teachers  once  told  her:  “I  don’t  want  you  to  be  the  best.  I  want  you  to  be  unique.”   Hélène  Grimaud  is  a  French  pianist,  among  the  most  acclaimed  on  the  international  music  scene.     A  Beethoven  enthusiast,  she  recently  played  the  Piano  Concerto  No.  5,  known  as  the  “Emperor”,  in   Berlin.   She  said:  “I  think  that  the  tools  available  to  Beethoven  to  write  his  music  were  insufficient  for  him.   He’s  someone  who  very  often  composed  by  pushing  the  boundaries  –  beyond  the  instruments   available  at  the  time,  and  even  beyond  the  ‘reality’  of  the  musical  matter.     “When  faced  with  such  energy…  there’s  something  irrepressible…  and  yet,  one  has  to  deal  with   something  tangible,  something  with  limits  of  its  own.  Finding  the  right  balance  between  his  crazy   extremism  while  holding  on  the  reins…  well,  this  is  what  I  find  to  be  the  most  difficult  in  this  concert.”     Hélène  only  approached  this  Concerto  in  recent  years.     “For  a  long  time  I  couldn’t  come  to  terms  with  a  somewhat  martial  colour  in  this  music;  but  as  I   approached  this  work,  I  realised  it’s  actually  something  different;  it’s  rather  joyful,  overflowing,   there’s  a  vital  energy  in  it,  an  earthly  force  exploding  from  this  work;  and  this  has  nothing  to  do  with   the  military  tone  I  perceived  when  I  was  younger,”  she  said.   She  believes  that  over  time  music  changes,  and  matures,  inside  the  interpreter:   “Even  over  a  short  lapse  of  time  of  only  five  years,  it  changes  all  the  time;  and  this  is  also  the  mystery,   and  the  miracle,  of  this  music  –  that  it  changes  inside  you,  despite  you,  regardless  of  you.  Once  you’ve   absorbed  it,  its  matter,  its  fibre  –  and  this  happens  also  when  you’re  not  working  on  it,  when  you’re   not  playing  it  –  well,  when  you  get  back  to  it,  you  realise  that  it  has  grown  and  taken  on  a  life  of  its   own,  as  it  were,  within  you.”     Hélène  Grimaud  is  a  perfectionist  but  she  rebuts  the  notion  of  perfection.     She  said:  “The  most  beautiful  moments  are  not  the  formally  perfect.  On  the  contrary,  they  are  when   you  feel  the  fragility,  the  abyss…  when  you  feel  that  everything  is  at  stake…  those  are  the  moments   that  touch  me,  that  excite  me  the  most,  that  seize  me.  I  think  that  art  best  expresses  itself  in  risk,  not   in  comfort.”     In  this  item  Grimaud  was  playing  Beethoven’s  Piano  Concerto  No.  5  in  E-­‐flat  major,  Op.  73   (‘Emperor’),  First  and  Second  Movement.   PHOTO  ,  VIDEO  AND  SCRIPT  :­‐helene-­‐grimaud-­‐on-­‐passion-­‐and-­‐perfection   TEXT  IN  BOX  :    http://www.bach-­‐­‐Helene.htm   1