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Denis Pascal en grand entretien Closing Concert – Book Your Tickets Now! Ad Manaurem 1762: Denis, qu'est-ce qui vous a poussé à accepter l'invitation d'Ad Manaurem 1762 en tant que directeur artistique, et qu'est-ce qui rend ce projet si unique pour vous ? Denis Pascal: La proposition est venue d'une personne bienveillante (Didier Sourisseau, NDLR) qui bâtit un projet presque utopique : réunir de jeunes musiciens dans un lieu absolument extraordinaire, le Château de La Marthonie à Saint-Jean-de-Côle. Ce projet visait à créer des conditions particulières pour un échange unique avec de jeunes artistes, dans un lieu caché, au cœur du Périgord Vert. En réalité, j'ai accepté ce projet sans connaître l'endroit. Et je crois que j'aurais même dit oui plus vite si j'avais su à quoi ressemblait le lieu tel que je l'ai découvert en 2024. Sans parler de l'équipe Ad Manaurem 1762 et de l'aspect humain de cette aventure, qui est vraiment spéciale, précieuse, comme devrait l'être un projet autour de la musique et de l'art. C'est aussi un devoir pour moi de participer à des événements ou des occasions de construire des projets destinés aux jeunes artistes. Pour les pianistes, c'est une occasion unique de venir en Dordogne – pas tant pour participer à la master classe, mais pour être un peu coupés du monde pendant une semaine dans des conditions extraordinaires. Pour moi, c'est aussi un cadeau de pouvoir accueillir ces jeunes musiciens, discuter avec eux et apprendre d'eux. Et ce, même si je suis là en tant que professeur, avec un rôle bien défini et régulé. Ad Manaurem 1762: Quel message clé ou quel conseil important souhaitez-vous transmettre aux jeunes pianistes pour leur développement musical et personnel ? Denis Pascal: Ils sont déjà en quête de leur développement et cherchent des clés pour mieux fonctionner. Si j'ai des conseils à donner, c'est plutôt en termes de propositions concernant leur relation avec l'instrument, avec la musique, et avec ce qu'ils veulent réaliser. Ces propositions, une fois un peu décodées, plus éclairées ou objectivées, leur permettent de s'insérer plus facilement dans le milieu professionnel, d'avoir une voix personnelle. Il s'agit de se considérer comme un centre d'intérêt, de devenir quelque chose qui puisse interpeller le public et les autres musiciens – en bref, de devenir un peu maîtres d'eux-mêmes. Il s'agit donc de travailler sur l'affranchissement, la confiance en soi, et une connaissance plus objective qui leur donne les outils pour se détacher ou, en tout cas, pour avancer dans leur cursus d'enseignement. Ad Manaurem 1762: Selon vous, quelle est l'importance de l'apprentissage en master classe et de l'échange avec d'autres musiciens pour la maturation artistique? Denis Pascal: Les échanges en master classe sont particuliers parce qu'on se voit plus souvent, tous les jours, ce qui crée une temporalité différente par rapport à l'année universitaire. La manière de donner les cours est donc différente. La master classe est ponctuelle, même si elle dure une semaine. Cela signifie qu'on suscite des questionnements, on essaie d'enclencher des réflexions qui – nous l'espérons – porteront leurs fruits plus tard. La master classe est aussi une manière de briser un cycle, de sortir du quotidien et de ses difficultés que rencontrent les artistes, les musiciens, tout le monde en fait. Il s'agit de se retrouver et de vivre cette expérience quotidienne autour du répertoire, avec des échanges organisés et planifiés, encore une fois dans un lieu absolument merveilleux. Il y a une fluidité dans le temps, quelque chose de suspendu. Les contingences du monde extérieur ne sont plus là. Et cela permet peut-être de lâcher les défenses et, finalement, de communiquer sur des choses essentielles. La "master classe" est un terme un peu… disons... Je n'aime pas trop le terme "classe de maître". Il s'agit simplement d'être là de manière soutenue et d'être concentré plus intensément pendant un temps bien défini. En ce moment, ce sont six jours intenses puisque je vois les pianistes tous les jours. Ces moments sont toujours privilégiés. Je me souviens des master classes auxquelles j'ai participé. J'ai en tête des noms de grands pianistes qui sont des modèles pour moi. Loin de vouloir les imiter, j'ai compris que des échanges particuliers peuvent se faire lors de ces sessions. Ad Manaurem 1762: Une masterclass, même si vous n'aimez pas le mot, permet-elle l'échange entre générations, ou peut-être même entre différentes cultures qui s'enrichissent? L'avez-vous vécu ainsi ? Denis Pascal: Oui, évidemment, dans une idée où l'on embrasse plusieurs nationalités : Chine, Taïwan, Lituanie, France… Forcément, il y a des cultures associées. Il y a aussi le fait de rencontrer des institutions, puisque des étudiants de la Royal Academy, etc., viennent. Ce sont aussi des manières de penser, des manières… Et ça, c'est fascinant. Pour moi, c'est naturellement fascinant. Pour eux, non. Eux sont sortis de leur institution et se retrouvent un peu dépaysés dans cet endroit hors du monde, hors du cycle, comme je le disais. Mais c'est un enrichissement évident. Comme je l'ai dit plus tôt, c'est une chance que de jeunes artistes vous demandent conseil. S'ils s'ouvrent suffisamment pour demander conseil, la partie est gagnée. Ce n'est pas seulement une question de valorisation, mais cela nous aide aussi à avancer nous-mêmes. Ad Manaurem 1762: Pourquoi, selon vous, un musicien devrait-il postuler à Ad Manaurem 1762? Denis Pascal: Je pense que c'est une occasion unique de trouver le silence. C'est vraiment une occasion unique. De plus, les conditions sont absolument merveilleuses. C'est une occasion de rencontrer d'autres musiciens, de jeunes musiciens, et l'organisation de la semaine est telle que tout est simple : financièrement bien sûr, la logistique, tout est fluide. Et rien n'est jamais vraiment fluide dans la vie. Tout est compliqué. Et c'est ce qui crée ces expériences. Je pense que faire de la musique, pour les musiciens, c'est rêver dans un monde spécial. C'est avoir cette capacité à l'introspection, à suivre une imagination. Bref, ce n'est pas rien et ce n'est pas non plus dans l'air du temps. On pourrait dire que cette pratique du piano, ou l'art en général de la musique classique, de l'interprétation, est à mon avis quelque chose d'essentiel. Elle sert de modèle pour tout le reste. Mais ce n'est pas dans l'air du temps. C'est donc un moment spécial à découvrir, avec des conditions spéciales. Ad Manaurem 1762: Comment avez-vous personnellement vécu la semaine de la master classe et quelle impression en retenez-vous? Denis Pascal: L'impression, c'est surtout la connaissance de six individus différents, d'avoir cherché avec eux, d'avoir appris des choses avec eux et d'avoir essayé de déclencher des processus ou ce qu'on appelle des déclics, concernant leur relation avec l'instrument, le mouvement, l'écoute, la lecture d'une partition. Finalement, il y a des points précis pour s'affranchir et devenir ce que l'on doit être en tant que pianiste. Il est vrai que la master classe est affaire de précision. Les cours ne sont pas de la poésie. Il y a quelque chose de précis, de concret, car la musique est aussi un artisanat, et cet artisanat, ou le perfectionnement des gestes, nous amène à capter d'autres dimensions. Bref, c'est comme ouvrir un tiroir. Il ne suffit pas de discuter littérature pour travailler du Schumann ou du Beethoven. Il faut savoir mettre les mains dans l'écriture musicale, dans la relation avec la lecture, savoir comment fonctionne un piano, comment on peut bouger, et quel est le lien entre notre imagination et nos possibilités de jeu. En bref, c'est à la fois extrêmement concret, extrêmement objectif – du moins, je m'astreins vraiment à penser ainsi – et cela ouvre des portes vers un peu un ailleurs avec la poésie, c'est certain. Ad Manaurem 1762: Y a-t-il quelque chose que vous aimeriez ajouter, un mot pour finir cet entretien? Denis Pascal: Mon mot de la fin : Tant qu'il y aura des rêveurs et des idéalistes, la musique existera. Je tiens à remercier Ad Manaurem 1762, et en particulier Didier, car c'est essentiel. Je pense que c'est un devoir de soutenir ce projet, et c'est aussi une démarche importante pour moi de vous remercier de cette opportunité. Né le 1er décembre 1962 à Albi, Denis Pascal est une figure marquante et une personnalité hors pair du piano français. Après ses études au Conservatoire de Paris, il a approfondi sa technique auprès de György Sebök à l’université d’Indiana. Lauréat de plusieurs concours internationaux (Lisbonne, Zurich et New York), il séduit par la chaleur de son son et la sensibilité de son jeu. Il est notamment reconnu pour son enregistrement intégral des Rhapsodies hongroises de Liszt. Avec ses fils Alexandre et Aurélien, il forme le Trio Pascal. Depuis 2011, il transmet sa passion en enseignant au Conservatoire de Paris.

Les Masterclass de musique se déroulent dans le Périgord. Journey in the Périgord Vert We believe that in this beneficent Périgord Vert, where natural and built heritage combine to perfection, we can surround these artists and offer them an unforgettable odyssey at the dawn of their careers. In this way, we give them an extra chance to succeed in their lives as musicians. La Manaurie We're from Périgord, and we're generous about sharing what we've been handed down. That's why this house is keen to welcome its guests for a week. As this is a human adventure, we will be sharing with them the warm hospitality of the Périgord and, of course, its gastronomy. It is here that they will meet other young musicians, as well as the guest personalities who will share their experience and, we hope, give them advice. Accommodation Our students will be staying in a gîte at the village of Saint-Martin-de-Fressengeas. The aim is to give students the opportunity to spend time and socialise with other students from different countries. Together they will have access to leisure activities. The premises are equipped with study pianos for individual rehearsals. The gîte de la Baine is a property situated in a hamlet off the road between Saint-Martin-de-Fressengeas and Saint-Jean-de-Côle, comprising two tastefully restored houses, one traditional and the other contemporary, and a barn converted into a comfortable games room with table tennis and table football. Each person on the property can enjoy their own independence, but there are also communal areas where you can meet up whenever you like. (Find the gîte de la Baine on grandgîtes.com)

Biographie de Denis Pascal, Pianiste, Directeur Artistique et Professeur pour la Masterclass 2024 de Ad Manaurem 1762 Professor Johannes Meissl Music Comes Alive When Played Together Johannes Meissl, Vice-Rector and Professor of Chamber Music at Vienna’s mdw, is Artistic Director of Ad Manaurem 1762’s string quartet masterclasses. In this interview, he explores the challenges and rewards of making music together, the importance of a welcoming atmosphere for young musicians, and why music never loses its power to move us, even after decades. Johannes Meissl leading a masterclass session Ad Manaurem 1762: Johannes, you are a central figure in the training of string quartets. What made you accept the invitation from Ad Manaurem 1762 to become Artistic Director of this masterclass? Johannes Meissl: When I first heard about this new project, I was immediately very interested. I sensed at once that the people behind it were truly serious. They are not doing it for commercial reasons, but to offer young musicians a special opportunity. The recommendation of my rector at the mdw, where I am Vice-Rector for International Affairs and Art, was also decisive. The concept of working for an entire week with just three quartets and one coach, in an ideal environment, is something very special. It allows the young ensembles to immerse themselves deeply in the music and in the works they bring, without distraction. It is also important that the week has a clear goal: the closing concert. What message would you like to pass on to young string quartets for their musical and personal development? The decision to devote oneself seriously and professionally to string quartet playing as a main activity is a far-reaching one. It does not only mean working on wonderful music and performing it on stage. It is also a long journey in which one’s own personality becomes directly involved in the collaboration. In a quartet, very different personalities necessarily come together. That is a great challenge, but it is worth taking on. One can be enriched enormously by the others — and of course by this extraordinary music. The string quartet repertoire, in its richness and quality, is hardly comparable to any other. If one succeeds in shaping this shared path in a positive way, string quartet playing can offer a sense of fulfilment that few other musical forms can provide. In my work, I also try to convey as much understanding as possible of the particular musical language of each work: its foundations, its characteristics, its articulation and its style. What matters to me is less the label of a style than the essence of a musical language. Where does it come from? How is it embedded? What is generally understandable, and what in a particular work requires special attention? Only from this can a living musical narrative emerge. Do you also place music in the context of the time in which it was written? Yes, absolutely. Placing a work in its context is extremely helpful if young musicians are to truly feel and understand the inner narrative contained in the music. Musical languages are inseparable from their time and their region. It is important to know the political, social and historical environment in which a work was created. If one does not understand what the Enlightenment brought about in Europe, one cannot truly understand Haydn. And without knowledge of the consequences of the French Revolution and the contribution of German Idealism, Beethoven cannot be fully understood. For me, this knowledge is not an end in itself. It forms the basis for a feeling — and that feeling should then become effective in one’s playing and interpretation. A masterclass requires not only technical perfection, but also a deep understanding of the dynamics within the ensemble. How important is this aspect? The human dynamic within the group is very important to me. It is about trying to breathe together, think together, feel together and respond to one another to such an extent that truly shared music-making becomes possible. I am convinced that the highest quality is best achieved when the human dynamic is also positive. Exchange within the ensembles and between the ensembles is essential in every masterclass — especially in such an intimate and focused atmosphere as here. It does not only happen during the actual musical work, but also at shared meals or in small moments of free time. This strengthens the young musicians. Often, such encounters lead to lasting friendships. What is the significance of exchange between generations? I played string quartet with the same colleagues for more than forty years, so I know very well the importance of continuous work. But I have also experienced how valuable short, intensive encounters can be. They are invigorating, provide new impulses and are necessary for everyone involved. This also applies to young ensembles. In the best case, they have continuous guidance, but at regular intervals they also need these intensive impulses that a masterclass can provide. That is why I very much believe in “both-and”, not “either-or”. Ad Manaurem 1762 places great importance on a family-like atmosphere. What can such an environment make possible? A family-like atmosphere is very important because it absorbs part of the pressure to which young musicians are already exposed. The music world is competitive and demanding, including for young string quartets. At Ad Manaurem 1762, an environment is created that does not increase the pressure, but opens up space. The relaxed, family-like atmosphere and the feeling that many things are being taken care of allow the young ensembles to focus on what matters most: the music, the shared work and their own development. How did you personally experience the week? For me, it was a very beautiful experience, especially because of the warm hospitality extended not only to the ensembles, but also to me. There were special moments almost every day. The opportunity to work in this wonderful old château, La Marthonie, made a very deep impression on me. The fact that the owner of the château so naturally supported everything was also very special. The organisers do not just do things well; they do them with enthusiasm, conviction, dedication and an obvious love for the project. For me, that was a very beautiful and profound experience. What does music mean to you personally? Music is my life. I chose it when I was young, and my love of music has never disappointed me. A wonderful piece of music can still fascinate me today just as much as it did decades ago. It awakens in me again and again the desire to rediscover it with others and bring it to life. I believe that music can give many people something they do not find elsewhere. That is why we must not simply wait for people to come to traditional concert halls. If they do not come to us, we must go to them. This happens in many projects: in social or therapeutic institutions, in pop-up concerts, in places where this kind of music may not usually be present. A live experience is a shared event. Music becomes alive again in the moment it sounds. That is precisely where its special power lies. So can classical music also be understood in a contemporary and modern way? Absolutely. In the history of music, no great composer ever saw themselves as “classical”. They were all contemporary composers, modern in their own time. For me, everything is possible. What matters is that it is done at the highest instrumental and artistic level — with identification, awareness and a genuine love for the music. Then music will continue to work in the future as well. Is there anything else you would like to add? I would like once again to express my heartfelt thanks for the opportunity to be here. I wish the Ad Manaurem 1762 project a wonderful and sustainable future, and I am very curious to see how it will continue to develop. BACK

Ad Manaurem 1762, mécénat pour les jeunes musiciens. Notre objectif est de soutenir des jeunes musiciens à un moment de leur carrière où ils en ont besoin. Launch of the 2026 Season – Our sponsorship will offer 2 exceptional Master Classes We are delighted to announce the opening of the 2026 season – Two exceptional Master Classes: 19 musicians will benefit from our programs, fully funded by Ad Manaurem 1762. Piano A Piano Master Class will take place from June 27 to July 4, 2026 under the artistic direction of University Professor Mag. Christopher Hinterhuber of the University of Music and Performing Arts Vienna (mdw). This class is limited to 6 students and will conclude with a public concert on Friday, July 3, in Saint Jean de Côle. BIOGRAPHY Chamber Music A Master Class in Chamber Music for String Quartet organized at the end of summer from August 23 to August 30, 2026. The guest professor is Univ.-Prof. Dr. h.c. Johannes Meissl, Professor of Chamber Music and Vice Rector for International Affairs and the Arts at the University of Music and Performing Arts Vienna (mdw). Three quartets will be selected. A restitution concert will be given and open to the public on Friday August 28 in Saint Jean de Côle. BIOGRAPHY Selection Process It is only available through the higher music universities with which we have established a partnership. Winners must be at the end of their university studies (Master's or 3rd cycle) or within the next 2 years. We ask students who are not in this situation and who would like to benefit from our sponsorship to contact their conservatoires so that they can approach us beforehand to discuss a possible partnership. Programm The quality of our program places these Master Classes at a high level of excellence. Daily individual lessons are provided in an exceptional setting. We are dedicated to the well-being of our participants, ensuring they can develop their projects and deepen their art during the week. Special care is given to their accommodation and gastronomy, which is central to our culture. We aim to make this an unforgettable human adventure.

Ad Manaurem 1762, mécénat pour les jeunes musiciens. Notre objectif est de soutenir des jeunes musiciens à un moment de leur carrière où ils en ont besoin. Welcome to the Orangerie: A New Residence for Young Talents in the Périgord Vert Ad Manaurem 1762 has opened its doors for an exciting new project. We are delighted to announce the opening of our residence, specially designed for young musicians. Our first guests, the talented Idalia String Quartet, have already arrived and are filling the space in the heart of the Périgord Vert with music. This new step deepens our commitment to the talents of tomorrow, while staying true to our philosophy. The residence provides not only an inspiring setting for rehearsals but also moments for meeting and exchange. The peace and beauty of the Périgord Vert create an ideal environment for artistic growth. This project is fully aligned with our belief that musical excellence thrives best in a supportive, family-like environment. With the residence, we now offer an even more comprehensive platform to encourage and support the next generation of classical music. Launch of the 2025 Season – Our sponsorship will offer 2 exceptional Master Classes and a new residency for artists We are delighted to announce the opening of the 2025 season – Two exceptional Master Classes: 18 musicians will benefit from our programs, fully funded by Ad Manaurem 1762. Piano A Piano Master Class will take place from June 28 to July 5 under the artistic direction of Mr. Denis Pascal, Professor at the Conservatoire National Supérieur de Musique de Paris. This class is limited to 6 students and will conclude with a public concert on Friday, July 4, in Saint Jean de Côle. BIOGRAPHY Chamber Music A Master Class in Chamber Music for String Quartet organized at the end of summer from August 23 to August 30, 2025. The guest professor is Mr. Johannes Meissl, Vice Rector of the University of Music Vienna. Three quartets will be selected. A restitution concert will be given and open to the public on Friday August 29 in Saint Jean de Côle. BIOGRAPHY Selection Process It is only available through the higher music universities with which we have established a partnership. Winners must be at the end of their university studies (Master's or 3rd cycle) or within the next 2 years. We ask students who are not in this situation and who would like to benefit from our sponsorship to contact their conservatoires so that they can approach us beforehand to discuss a possible partnership. Programm The quality of our program places these Master Classes at a high level of excellence. Daily individual lessons are provided in an exceptional setting. We are dedicated to the well-being of our participants, ensuring they can develop their projects and deepen their art during the week. Special care is given to their accommodation and gastronomy, which is central to our culture. We aim to make this an unforgettable human adventure.

We are delighted to present the laureates of the 2026 season The pianists Joanna Goranko Joanna Goranko is a Polish pianist, born in 2001. Currently, she is studying under the guidance of Professor Konstantin Scherbakov in Zürich at the University of the Arts. She is a prizewinner of numerous prestigious piano competitions, including the International Fryderyk Chopin Piano Competition for Young Pianists in Foshan (3rd Prize) and the National Fryderyk Chopin Piano Competition.In 2023 she became a Semi-finalist of the Chopin Piano Competition on the Period Instruments. In March 2024, she became a prize winner of the Valiant Forum Piano Competition as part of the Murten Classics Festival in Switzerland. In June 2024, she won the 1st Prize at the Piano Competition in Lausanne and in August 2024, she performed Mendelssohn’s Piano Concerto in A minor with Orchestra Boho Strings at this Festival and won the 3rd Prize.. As a result, she was invited to perform Beethoven’s Piano Concerto No. 1 in C major with an orchestra. In December 2024 she made her debut at the Tonhalle, Zurich, performing Schumann Trio with her chamber music partners. Joanna has performed concerts both in Poland and abroad, including in Moscow, Vienna, Paris, Hamamatsu, Miami, Rome, and many cities in Germany and Switzerland. Joanna has also been invited to perform at renowned Chopin events, such as at the Chopin Manor in Żelazowa Wola, the Chopin Museum, the Chopin Festival in Duszniki Zdrój, as well as the Paris Chopin Festival “Chopin au Jardin” and “Chopin à Paris.” MORE Dominik-Augustin Ilisz “This young man is highly talented, full of imagination, and strives to shape every detail of a composition” wrote Pierre Charron about Dominic after the concert for the International Chopin Society in Vienna. Dominik Ilisz is a pianist in his fourth year of studies at the MdW in the class of Professor Christopher Hinterhuber, and at the Oradea in the class of Professor Horia Maxim. He has already performed on many major stages in Europe,including the Romanian Athenaeum in Bucharest, the Megaron Concert Hall in Thessaloniki,and the Philharmonic Hall of Patras (Greece).He has given concerts in Germany,Italy, France, Spain, and Austria. A significant milestone in his career was his début at the Wiener Staatsoper and at the Wiener Musikverein in 2025. His recent achievements include a 1st Prize at the Targu Mures International Piano Compétition,a “Medalla d'Honor” at the 70th Maria Canals International Piano compétition, special prize at the Ettlingen International Piano Competition and at the Bechstein Bruckner Piano Competition in Linz,the Marianne Nadler-Preis Awarded by the Beethoven Society and the Anny Felbermayer Award, which he received in 2023 from the University of MdW.In 2025, he appeared as an invited artist in the Musethica Vienna sessions, performing in eleven concerts across Austria. In January 2026,he performed at the Benjamin Prize Award Gala in Vienna.This prize is presented annually by the Wolfgang Boesch Private Foundation to exceptionally successful young artists.Dominik received the award following his appearance at the Wiener Staatsoper,where he stepped in on short notice and had to learn Liszt’s Reminiscences de Norma in less than two weeks. MORE Riko Imai Riko Imai Born on 5 July 2001, she began learning piano at the age of two. She is currently a student of Anna Malikova at the University of Music and Performing Arts Vienna. She completed her bachelor’s degree with highest distinction in Piano Performance at the MdW. Starting this autumn, she will continue her studies in the master’s program. She has won prizes in numerous piano competitions, including second prize in the Chopin Piano Competition in Japan (2024), third prize in the 13th Rosario Marciano International Piano Competition (2024), sixth prize in the 4th Shigeru Kawai International Piano Competition (2023), second prize in the Osaka International Music Competition (2019), the gold medal in the Asian International Chopin Piano Competition (2018), a special prize in the Hamamatsu International Piano Academy (2017), and the bronze medal in the Ishikawa International Competition (2017). Arthur Kokerai Arthur Kokerai is a young pianist whose artistry is distinguished by a striking blend of expressive individuality and technical brilliance. His vivid temperament and deeply communicative style have already marked him out as a musician of rare promise. A citizen of Zimbabwe, Arthur was born in October 2006. He began his musical education in 2012 at the Gnessin Special School/College of Music in Moscow, where he studied piano under Elena Plyashkevich. In 2024 he graduated from school with distinction. He is currently in his second year at the Royal Academy of Music in London, where he holds a full scholarship, studying for the Bachelor of Music degree under Professor Joanna MacGregor. Arthur has performed in many of Russia’s prestigious concert halls, including the Small, Great, and Rachmaninov Halls of the Moscow State Conservatoire, the Zaryadye Concert Hall, and the Moscow International House of Music. He has participated in the Music Festival Chipping Campden 2025 in conjunction with Chipping Campden Literature Festival. He has also performed at the Duke Hall. Arthur is a laureate of several national and international competitions, most notably winning Third Prize and the Bronze Medal at the XI International Tchaikovsky Competition for Young Musicians (2023) in Moscow and Third Prize at the BPSE 32nd Senior Intercollegiate Piano Competition in UK (2025). He has also been selected for the Cliburn International Junior Piano Competition 2023 and participated in the Dublin International Piano Competition 2025 and Hastings International Piano Concert Competition 2026 (UK) Darren Sheng Darren Sheng is renowned for his clear and passionate playing, which has earned him numerous invitations to perform in France, appearing in prestigious venues such as the Salle Cortot, the Théâtre de la Ville in Paris, Théâtre du 95 ‘Point Commun’, and the Théâtre de Poissy, as well as at numerous festivals, such as the Chopin Festival at Bagatelle, the ‘Envol Musical’ Festival alongside David Fray and Clément Lefebvre, and the Pontlevoy Festival. He distinguished himself at the 2020 edition of the “Virtuose du Cœur” International Competition by winning Third Prize, and is also a laureate of the “Piano Campus” competition, having won two special prizes. In 2022, he was invited as a soloist to perform Liszt’s “La Malédiction” with the PSPBB orchestra under the baton of Xavier Gagnepain.In 2026, he performed as a soloist with the Marseille Philharmonic Orchestra to play “Nuit dans les jardins d’Espagne” with Daniel Kawka. A versatile musician, Darren Sheng has extensive training as a cellist and regularly performs on period instruments. He previously obtained the Higher Diploma in Concert Performance at the École Normale de Musique de Paris, under the guidance of Jean-Marc Luisada, and is currently completing a dual course at the Paris Conservatoire (CNSM), studying as a soloist under Denis Pascal and as an accompanist with Reiko Hozu. With an interest in history, philosophy and sociology, he seeks to find the right musical meaning by integrating these diverse, cross-disciplinary dimensions into his performance. A native of Taiwan, he has performed in numerous recitals in Taipei, notably at the Eslite Hall. Darren is supported by the Jeune Talent association and is a recipient of the Safran Foundation scholarship. Mila Gostijanović Mila discovered music at an early age and began learning the piano at the age of four at the CRD in Roubaix in Vladimir Soultanov’s class; at the age of nine, she performed Haydn’s Concerto in D major with an orchestra there. She continued her pre-higher education at the Musica Mundi School in Waterloo (Belgium), where she studied for three years with Jacques Rouvier, before being admitted at the age of 17 to the Conservatoire National Supérieur de Musique et de Danse de Paris. Winner of several first prizes (Pianissima, Opus Yvelines) and the Debussy Interpretation Prize in 2022, she has furthered her studies in masterclasses with Bruno Rigutto, Anne Queffélec, Abdel Rahman El Bacha, Avedis Kouyoumdjian and Elisabeth Leonskaja. She has been invited to perform at numerous festivals (La Roque d’Anthéron, Lisztomanias in Châteauroux, Piano City Milan, ‘Muse & Piano’ at the Louvre-Lens, Philomuses in Paris, Piano-Pic in Bagnères-de-Bigorre, Plan-de-la-Tour, Chopin de Bagatelle, Château de Lourmarin) and performs Rachmaninov’s First Piano Concerto with the Orchestre de la Folia de Lille. In a duo with her sister Barbara (four hands / two pianos), she performs notably at the Festival Debussy in Saint-Germain-en-Laye, at ‘Pianos en fête ’ (La Roque d’Anthéron), at the Salle Cortot, at the Piano Folies in Le Touquet and in French Guiana. Deeply committed to chamber music, she works with Emmanuelle Bertrand, François Salque, Michaël Hentz and the Quatuor Ébène; a member of the Trio Idyl since 2024, she obtained a bachelor’s degree in the class of Claire Désert and Loui Rodde. Aged 21, she is continuing her piano studies at the CNSMDP under Denis Pascal and Varduhi Yeritsyan. Les quatuors à cordes Aiolos Quartet Jiaqi Lu, violin Hongfei Lyu, violin Alessandra Yang, viola Aloisa Wetter, cello Founded in autumn 2024, the Aiolos Quartet is an international ensemble bringing together musicians from China, Austria, and the United States. Violinists Jiaqi Lu and Hongfei Lyu first began playing chamber music together in 2023. After refining their musical direction, they were joined by violist Alessandra Yang and cellist Aloisa Wetter. Under the mentorship of Prof. Johannes Meissl at the University of Music and Performing Arts Vienna, the Aiolos Quartet has rapidly developed its musical identity. They have been selected to take part in the 2025/26 and 2026/27 seasons of Musethica. Through their collaboration, the quartet is developing a cohesive musical language and a distinctive artistic voice. Galilee Quartet Mostafa Saad, violin Gandhi Saad, violine Omar Saad, viola Tibah Saad, cello The Galilee Quartet – a Palestinian quartet based in Paris, composed of three brothers and a sister: Omar, Mostafa, Gandhi, and Tibah. Founded in their home in Galilee, their repertoire includes Western classical pieces and Arabic songs, as well as original compositions. In 2023, the quartet began studies at the Paris Regional Conservatory (CRR) with Miguel Da Silva and Luc-Marie Aguera, and in 2024 with Emmanuel Haratyk at the Bourg-La-Riene Conservatory. They have also studied under the mentorship of Jean-François Heisser in Paris, Gilles Millet, and Marc Danel(Danel Quartet). In 2025, the quartet was selected as the ensemble in residence at the Verbier festival academy. In September 2025, the quartet began a masters in quartet studies at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) where they currently study with François Salque, Jean Sulem and quatuor Ébène. The quartet has performed a lot across Europe and the Middle East, and continues its journey of sharing music and building cultural bridges. Sostenuto Quartet Andreas Alexander Martinsen, violin Bjørg Pas, violin Kristin Pas, viola Frida Leanne Rogn, cello Sostenuto Quartet is a nationally recognized and expressive Norwegian string quartet, consisting of four young musicians, Andreas Alexander Martinsen, violin / Bjørg Pas, violin / Kristin Pas, viola / Frida Leanne Rogn, cello. They are based in London at the “Royal Academy of Music”, with a passion for creativity and vivacity. Despite their young age, the quartet has already developed a mature, deep sound and a nuanced musicality, something that highly contributed to their victory in one of Norway’s most recognized national competitions, The Midgard National Music Competition, in 2022. The Sostenuto Quartet has attended multiple programs and academies throughout the years. One of the greatest points of their career was in spring 2024 where they executed their national Norwegian tour, performing their own concert series “Conflicting Harmony”. Presenting pieces by Debussy, Glass and the Danish String Quartet. This was a series highly focused on the relevance and importance of culture in some of the world’s most discussed issues: war and poverty. Recent performances include a performance in the Wigmore Hall performing «Arcadiana» by Thomas Adès. Attended a masterclass given by Adès himself and a collaboration between students from the Julliard School and The Royal Academy of Music they performed at the Royal Albert Hall (London) and Lincoln Square (New York). For continuing their musical career, the Sostenuto Quartet has received various scholarships from funds viz. Anders Sveeas Almennyttige Fond and Axel Byes legat.

Ad Manaurem 1762 vous offre une masterclass de piano avec Denis Pascal. The 2024 Masterclass The first session is devoted to the piano. It will take place from 29 June to 6 July 2024 under the artistic direction of Monsieur Denis Pascal, professor at the Conservatoire National Supérieur de Musique de Paris. He is recognised as one of the best teachers of his generation. Denis Pascal Pianist, Artistic Director and Teacher for the Masterclass 2024 BIOGRAPHY Selection process We select our guests according to a dual process. For 2024, we have partnerships with the best music universities in Europe: the Universität für Musik und darstellende Kunst Wien, Conservatoire National Supérieur de Musique et de Danse de Paris and the Royal Academy of Music, London. Each of these academies proposes candidates whose exceptional profile matches our approach to excellence. These are then selected by our committee. We guarantee 2 places per university. We are also accepting unsolicited applications via our website until the end of March. After an initial assessment, our committee validates and selects the best candidates. Masterclass week We invite 6 to 7 participants to join us in the Périgord Vert, at St. Martin-de-Fressengeas on 29 June 2024. Our guests receive an individual lesson each day with Mr Denis Pascal and, of course, accommodation, meals and ancillary activities are also provided by Ad Manaurem 1762. These include a visit to historic sites of the Périgord region, as well as a voice coaching session to help them master the art of expressing themselves in public. This module will be covered by Mrs Petra Andrensek with individual sessions. Petra Andrensek Singer & Vocal Coach BIOGRAPHY Château de la Marthonie - the place of study Since the 11th century, La Marthonie has played an important role in protecting the property of the King of France. Ruined during the Hundred Years' War, the castle was rebuilt from the 15th century onwards and enlarged in the 17th and 18th centuries. Since its construction, the château has been owned by the Beaumont-Beynac family, who continue to restore it to this day. The family has a long musical tradition, and has been organizing chamber music concerts for over 30 years. Thierry de Beaumont-Beynac, co-founder of Ad Manaurem 1762, opens the recently restored salons to us, where all the advanced courses are held. The end-of-week concert A closing concert will be held at the end of the week, on Friday 5 July 2024 in the church of Saint-Jean-de-Côle. It will be open to a wide audience as well as to music professionals. The village of Saint-Jean-de-Côle has been listed as one of the most beautiful villages in France. Its history is closely linked to its priory, built in the 11th century, and its castle. The church, listed as a historic monument since 1862, dates from the same period. The closing concert takes place in this exceptional setting. We want to make it an unforgettable moment for our young talents performing in front of a large audience and for our special guests (agents, journalists, VIPs, etc.). We hope that this concert will receive adequate media coverage and help people discover this part of the Périgord region. A stay in the Périgord Vert Our participants can devote themselves entirely to music, far from the hustle and bustle of everyday life, thanks to an authentic environment. Here, the natural and cultural heritages complement each other perfectly to build a beautiful horizon for our young people. Accommodation is provided in St. Martin-de-Fressengeas. Classes take place at Saint-Jean-de-Côle in the Château de la Marthonie. Accommodation Our students will be staying in a gîte at the village of Saint-Martin-de-Fressengeas. The aim is to give students the opportunity to spend time and socialise with other students from different countries. Together they will have access to leisure activities. The premises are equipped with study pianos for individual rehearsals. The gîte de la Baine is a property situated in a hamlet off the road between Saint-Martin-de-Fressengeas and Saint-Jean-de-Côle, comprising two tastefully restored houses, one traditional and the other contemporary, and a barn converted into a comfortable games room with table tennis and table football. Each person on the property can enjoy their own independence, but there are also communal areas where you can meet up whenever you like. (Find the gîte de la Baine on grandgîtes.com) La Manaurie This is where the roots of Ad Manaurem 1762 lie, and we're delighted to open our doors to our guests. Warm hospitality is part of the Périgord culture, as are all the regional culinary delights. We hope you will feel at home here.

Ad Manaurem 1762, mécénat pour les jeunes musiciens. Notre objectif est de soutenir des jeunes musiciens à un moment de leur carrière où ils en ont besoin. Ad Manaurem 1762 – Piano Season 2025: A Resounding Success The 2025 Piano Season of Ad Manaurem 1762 took place this year in partnership with prestigious institutions such as the CNSMDP (Paris), the MdW (Vienna), the Royal Academy of Music (London), and the ZHdK (Zurich). Six exceptional laureates were selected to participate in our masterclass, passionately led by Mr. Denis Pascal, professor at the CNSMDP and artistic director of this season. His high-quality teaching and enthusiasm deeply impacted our young artists. Denis Pascal surrounded by our 2025 Laureates (from left to right): Tom Carré, Vilhelm Moqvist, Hsinyu Kwan, Elžbieta Dvarionaitė, Junyan Chen, Kasparas Mikužis. Highlights of the week Beyond daily individual lessons with Denis Pascal, our young talents benefited from quality accommodation, allowing them to work and rehearse on three pianos available to them 24/7. Not to mention a memorable visit to the prehistoric caves of Villars. The closing concert in Saint-Jean-de-Côle The closing concert on July 4th was a true triumph, gathering over 240 spectators. The virtuosity of our six pianists captivated an appreciative audience, who honored them with a standing ovation worthy of the greatest summer stages. We express our deep gratitude to the talented photographers of the "Objectif Photo en Périgord Vert" association for capturing these precious moments throughout the week, and for graciously making their images available to us. Our thanks also go to the volunteer members and the board of directors of Ad Manaurem 1762, whose unwavering commitment and support are essential to the excellence/sustainability of our association. We were honored by the presence of Mrs. Anne Leclercq, Head of Philanthropy, and Mr. Clément Carpentier, Director of Instruments, both representing the National Conservatory of Music and Dance of Paris, as well as Mr. Matthew Ross for the Royal Academy of Music in London. Their presence at our side is an invaluable mark of confidence. A big thank you also to our precious supporters, without whom nothing would be possible: The Community of Communes of Périgord-Limousin, and in particular its President, Michel Augeix, Mayor of St Martin de Fressengeas, and its Vice-President in charge of Culture, Raphaël Chipeaux, without forgetting Isabelle Hyvoz, Mayor of Thiviers and Francis Sedan, Mayor of Saint-Jean-de-Côle. It is thanks to them that we were able to realize our project. We thank our Regional Councilor Colette Langlade who came with the encouragement of the President of the Nouvelle Aquitaine Region Alain Rousset and who is one of our supporters. The Caisse des Dépôts et Consignations, for its commitment and trust from the very beginning of our project. Crédit Agricole, and more specifically the Thiviers branch, which has always welcomed us, guided us and helped us, to the point of enabling us to obtain significant financing from the Crédit Agricole Charente-Périgord Foundation, for the purchase of a piano for our new residence for musicians which we will open at the end of July. And of course, a big thank you to Périgord Magazine, our media partner. You'll find a wonderful article on Ad Manaurem 1762 in their pages. The concert of 4 July 2025 Programm Hsinyu Kwan Joseph Haydn, 1732–1809 Sonata in B minor : Allegro moderato, Menuet , final : Presto Kasparas Mikužis Jean-Philippe Rameau, 1683–1764 Les Triolets, La Poule : excerpts from the Suite in G major, RCT 6 Maurice Ravel, 1875–1937 „Une barque sur l‘océan“ Elžbieta Dvarionaitė Maurice Ravel, 1875–1937 Valses nobles et sentimentales Vilhelm Moqvist Robert Schumann, 1810–1856 Kreisleriana, op. 16: first three pièces Junyan Chen Henri Dutilleux, 1916–2013 Sonate : Choral and Variations Tom Carré Zoltán Kodály, 1882–1967 Dances of Marosszék

Biographie de Denis Pascal, Pianiste, Directeur Artistique et Professeur pour la Masterclass 2024 de Ad Manaurem 1762 Biography Born in Ried/Austria, Meissl studied at MdW – University of Music and Performing Arts Vienna with Wolfgang Schneiderhan, Gerhart Hetzel, and Hatto Beyerle. He graduated with distinction and a special award from the ministry. In1982 he joined the Artis Quartet. After further studies with the LaSalle Quartet in the US and several competition prizes, the ensemble established an international career, still performing in the same line-up. Concerts at prestigious series and festivals worldwide, awards for over 40 recordings (Grand Prix du Disque, Diapason d’Or, Echo, Midem Classics, etc.) and the “Artis Series” as part of the official annual programme of the Gesellschaft der Musikfreunde at the Musikverein in Vienna (running since 1988) bear witness to the international standing of the ensemble. Meissl also performs in solo recitals and in open chamber projects, and he has achieved success as a conductor. Since 1992 Meissl has been teaching at the MdW, since 2004 as a university professor for chamber music. Meissl has been serving as the Vice Rector for International Affairs and Art of this top-ranking university since October 2019. Prior to this, he headed mdw’s Joseph Haydn Department of Chamber Music and served as president of the Senate of the MdW. Meissl is artistic director of the isa – International Summer Academy of MdW and artistic co-director of the ECMA (European Chamber Music Academy). He gives master classes worldwide and he is very active within the Musethica project, which is combining intensive performance training with social outreach and community engagement. For more than 30 years, Meissl has been an influential teacher and a mentor for generations of young chamber musicians and ensembles. His students won first prizes at leading international competitions and succeeded in establishing sustainable careers. For a number of his former student ensembles’ acclaimed recordings (Midem Classics, Echo.) he also acted as an artistic producer. Photo: Sabine Hauswirth

Biographie de Denis Pascal, Pianiste, Directeur Artistique et Professeur pour la Masterclass 2024 de Ad Manaurem 1762 Professor Johannes Meissl The String Quartet – Music’s Supreme Discipline Johannes Meissl Professor of Chamber Music and Vice Rector for International Affairs and Art at the mdw – University of Music and Performing Arts Vienna. Artistic Director of Ad Manaurem 1762's String Quartet Masterclasses in 2025 and 2026. “The string quartet emerged in the mid-18th century; Joseph Haydn is regarded as the founder of this form. He created a genre that allowed musicians to play together in a very special way, and to share thoughts and emotions with one another. The string quartet is an exceptional form: it builds a bridge between the small ensemble and the sonic impact of an orchestra. It brings together the autonomous individualities of four outstanding soloists within one group, while preserving the independence of each voice. What makes it so fascinating is the constant interplay of alliances and sonic pairings, which can change continuously. Depending on what each instrument contributes at any given moment, a flexible, functional hierarchy emerges. There is no fixed division of roles in which the first violin is always “the leader” or the cello is always the radiant soloist. Rather, all four instruments take on the leading role in different sections of a work — making it possible to experience musical complexity in a deeply tangible and positive way. It is no coincidence that this format continues to fascinate particularly talented young musicians today: the string quartet is considered the supreme discipline of European classical music. All the great composers felt challenged to write string quartets in order to demonstrate their compositional mastery. The repertoire is now so vast that no quartet could perform all of these works over the course of a musician’s lifetime.” Johannes Meissl leading a masterclass session with the Galilée Quartet. BACK

We are delighted to present the laureates of the 2024 season Dario Zanconi Dario Zanconi, born in 1997 in Lugo, Italy, graduated with first class honours from the Arrigo Boito School in Parma under Maestro Andrea Padova. Since 2021, he has been studying at the Universität für Musik und Darstellende Kunst Wien in Vienna with Christopher Hinterhuber, and has perfected his skills with pianist Ingrid Fliter at the "Incontri con il Maestro" academy in Imola. He has won twenty-one first prizes in national and international competitions, including the Stockholm International Music Competition and the 1st International Piano Competition in Empoli.Dario has performed at many major Italian festivals and concert seasons, including the Camerata Musicale Barese and Piano City in Milan. As a soloist, he has performed concertos with the Filarmonica Arturo Toscanini and the European Orchestra of Young Musicians. In Vienna, he made his debut at the Radio Kulturhaus in the radio concert Kovacic Entdeckungen broadcast on ORF Ö1 in March 2022. Erik Breer genannt Nottebohm Erik Breer genannt Nottebohm, is a German pianist born in Neuss in 2000. He began learning the piano at the age of five and became a student at the University of Music and Dance in Cologne at the age of 12. He later studied at the Paris Conservatoire, where he was unanimously awarded a Premier Prix in 2022. Erik has benefited from the teaching of several great pianists, including Denis Pascal, and has won numerous prizes in early competitions. As a soloist, he has performed with various orchestras and at renowned festivals in Germany and France. Erik has also received grants from several foundations to support his musical career. MORE Hyunji Kim A South Korean pianist born in 1995, Hyunji Kim obtained her degree in piano at Seoul National University under the tutelage of pianist Hie-yon Choi. From the age of 13, she performed with the Seoul National Symphony Orchestra and continued to play throughout Europe, notably at the Philharmonie de Paris and the Cité de la Musique. In 2022, she was invited by Murray Perahia for his Beethoven masterclass in Munich. At the Académie Philippe Jaroussky, she plays at the Seine Musicale and on Génération France Musique. A pupil of Hortense Cartier-Bresson, she obtained the Performer's Diploma at the CNSMDP and was awarded the "France Excellence" scholarship by the French Ministry of Foreign Affairs. From 2022/2023, she will be pursuing a Master's degree in accompaniment and a Master's degree in pianoforte at the CNSMDP with Jean-Frédéric Neuburger and Daria Fadeeva. MORE Milda Daunoraite Lithuanian pianist Milda Daunoraite, born in 2001 in Anykščiai, began her piano studies at the age of six and studied at the Purcell School. She is currently studying with Tessa Nicholson at the Royal Academy of Music, and has been awarded several scholarships, including those from the "S.O.S. Talents - Fondation Michel Sogny pour les Enfants Talentueux" and the "Mstislav Rostropovich Foundation". Since the age of nine, she has taken part in an annual Christmas concert at the Hôtel Dassault on the Champs-Élysées in Paris, broadcast on Mezzo and TV5 Monde. Milda has performed all over Europe, including prestigious venues such as the Concertgebouw in Amsterdam and the United Nations headquarters in Geneva. A winner of numerous national and international competitions, she has taken part in masterclasses with renowned artists. MORE Bocheng Wang Bocheng Wang, a British-Chinese concert pianist, was born in China in 1997 and began learning the piano at the age of five with his grandfather. He continued his musical studies at the Junior Xi'an Conservatory of Music in China before moving on to the Purcell School and then the Royal Academy of Music in the UK. Bocheng has obtained several diplomas with the highest distinctions and has benefited from the financial support of various institutions and personalities, including Sir Elton John. Bocheng also had the honour of performing at the 90th birthday concert of Queen Elizabeth II and of being presented to Prince Edward, Duke of Edinburgh. MORE Adrian Herpe Adrian Herpe, a Franco-Ukrainian born in 2000, began his musical studies in Uzhgorod in western Ukraine. In 2015, he won various national and international prizes, including the Henrich Neuhaus piano competition in 2016 and the Grand Prize in the "FEURICH virtuoso" competition. In 2017, he won 1st prize ex æquo at the Nice International Competition. In October 2018, he played Rachmaninov's 2nd concerto with the Lviv Philharmonic Symphony Orchestra and passed his baccalaureate S with distinction. He joined the Royal Conservatoire in Brussels in 2019 and obtained his master's degree four years later with the highest distinction. Second prize in the Young Euregio Piano Award competition in 2022. He decided to continue his studies at the prestigious Universität für Musik und darstellende Kunst in Vienna with Anna Malikova. In 2023 he won first prize in the Brueghel piano competition. MORE

Ad Manaurem 1762, mécénat pour les jeunes musiciens. Notre objectif est de soutenir des jeunes musiciens à un moment de leur carrière où ils en ont besoin. EDITORIAL MARCH 2025 For the Love of Music, For the Love of Art Dear friends and supporters of the Ad Manaurem 1762 association, Music has always been, for me, like painting for the ears —colors that vibrate, textures that unfold, light and shadow that dance in sound. Just as a brushstroke can capture a fleeting emotion, a single note can hold the weight of a lifetime. This is why I love music with the same passion that I pour into painting and photography. And that is why I believe it is essential to help young musicians shape their own artistic identity. With Ad Manaurem 1762, I have the great joy of turning this conviction into action. This year, we are offering young conservatory students the opportunity to participate in an exceptional masterclass in Périgord – a place where history, beauty, and music come together. For a week, under the guidance of great masters, these young artists refine their technique, push their limits, and deepen their understanding of their art. I know what it means to dedicate oneself to art. The long hours, the doubts, the relentless pursuit of something just beyond reach. But I also know the joy of creating, the fire that burns when inspiration strikes, the irreplaceable feeling of being fully alive in one’s art. And I know, too, how important it is to have someone who believes in you, who opens a door when you need it most. This is what patronage is about. It is giving back to music what it has given me: wonder, passion, and the certainty that art – in all its forms – makes the world richer, deeper, and more beautiful. To the young musicians embarking on this journey: may this week in Périgord be for you a discovery, a challenge, a magic. And may music always illuminate your path. Amitiés, Priska Wallimann Design & Marketing NEWS DECEMBER 2024 Welcome Johannes Meissl For our first string quartet masterclass, we are very honoured to announce the arrival of Johannes Meissl as artistic director. Johannes speaks French very well and was attracted by our unique programme and the idea of coming to Périgord. He already knows and works with our two other partners, with whom meetings are planned to prepare this master class. Without wishing to use superlatives, it's a great opportunity for us to organise such an event: for classical music specialists, the quartet is considered to be one of the finest demonstrations of the art, and the concert at the end of August promises to be the grand finale of the season. BIOGRAPHIE DECEMBER 2024 Giving Tuesday x CNSMDP On this Giving Tuesday, the Conservatoire de Paris pays tribute to all those who support their students. Thanks to you, 1 in 4 students can continue their studies and share their talent with the world. Discover a day at the Conservatoire and the impact of your generosity. 15 NOVEMBER 2024 Concert salle Gaveau (Paris) We reunited with Denis Pascal on Friday, November 15, at the salle Gaveau for a concert featuring his two sons, Alexandre (violinist) and Aurélien (cellist), along with countertenor Paul Figuier. The program for this magnificent evening at Gaveau was dedicated to contemporary works by Bruno Coulais, Arvo Pärt, and Jean Philippe Goude. We were particularly captivated by the world premiere of Miserere and Salve Regina for voice, violin, cello, and piano by Jean Philippe Goude. Exuding profound depth through the restrained interpretation of the Pascal trio, the voice of Paul Figuier elevated us into the spirituality of this magnificent prayer of Salve Regina. The second part was dedicated to Franz Schubert and his Piano Trio No. 2, Op. 100, a masterpiece whose mastery and romanticism were deeply appreciated by the audience. Discover the Pascal Trio and Paul Figuier on their latest album, Anima Mea. OCTOBER 2024 Partnerships renewed for 2025 The new season began with intensive visits to Paris, London, and Vienna. Our meetings went very well, with positive results. The three partnerships have been renewed for 2025. Now we must rise to the challenge of our success, as some are asking us to do even more. We will have to take on this new challenge, but it seems that "impossible" is not in the Ad Manaurem spirit! Photo: With Matthew Ross at the Royal Academy of Music in London