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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.

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

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)

We are delighted to present the laureates of the 2025 season The pianists Hsinyu Kwan Born in 2001 in Taipei, Taiwan, Hsinyu Kwan began playing the piano at the age of 4. Since 2015, she has lived in Vienna, where she first studied with Franz Zettl at the Prayner Conservatory, then with Jasminka Stancul at the University of Music and Performing Arts Vienna. She obtained her Bachelor's degree in 2023, receiving the Benjamin Prize from the Wolfgang Bösch Foundation for her excellence. Hsinyu is currently pursuing a Master's in piano performance and a Bachelor's in music pedagogy. Winner of several international competitions, she notably won the 1st prize at the Béla Bartók Competition in 2015 and the 3rd prize at the Smetana Competition in 2018. Tom Carré Born in 1998 in Carcassonne, Tom Carré began playing the piano at the age of 4. After studying at the Toulouse Conservatory, he joined Denis Pascal's class at the Conservatoire National Supérieur de Musique de Paris (CNSMDP), where he obtained his Master's degree in 2023. Winner of several international competitions, he became the first French pianist to win the Concours International Piano Campus in 2022 with Ravel's G major Concerto. In 2023, he was named Révélation Classique by ADAMI and a Young Talent of the Jaroussky Academy. His debut album, "Noctuelles," dedicated to Schumann and Ravel, received a "Choc" award from CLASSICA magazine. Tom regularly performs as a soloist and chamber musician at festivals such as Les Pianissimes, Les Journées Ravel, and at the Kursaal in Bern. Junyan Chen Born in 2000, Junyan Chen is a Chinese pianist recognized for her versatility as both a soloist and chamber musician. She won the second prize at the Leeds International Piano Competition in 2024, along with the chamber music prize and the Alexandra Dariescu award for a work by a female composer. She has collaborated with orchestras such as the Royal Liverpool Philharmonic and the Royal Academy of Music Symphony Orchestra, performing Rachmaninov's Piano Concerto No. 4. Junyan is also passionate about contemporary music, working with composers like Hans Abrahamsen and Eleanor Alberga. Her debut solo album, "It's Time," released in 2022, explores cultural identity through various musical genres. Junyan completed her undergraduate and postgraduate studies at the Royal Academy of Music, and now holds the Academy’s Aud Jebsen Piano Fellowship. MORE Elžbieta Dvarionaitė Born in 2001, Elžbieta Liepa Dvarionaitė began studying at the National M.K. Čiurlionis School of Arts at the age of six with Vaida Kirvelytė and Albina Šikšniūtė. She is currently continuing her studies at the University of Music and Performing Arts Vienna under the guidance of Anna Malikova. Winner of numerous international competitions, she obtained the 2nd prize at the Bechstein-Bruckner Competition in Austria in 2024. Elžbieta has performed with orchestras such as the Lithuanian State Symphony Orchestra and the Lithuanian Chamber Orchestra. She has also participated in festivals like MusicFest Perugia in Italy and the Piano Pic Festival in France. Kasparas Mikužis Born in 2001 in Lithuania, Kasparas Mikužis began playing the piano at the age of 6. He studied at the National M.K. Čiurlionis School of Arts before continuing his education at the Purcell School with Justas Dvarionas. Winner of more than 20 international competitions, he has performed in prestigious venues such as the Concertgebouw in Amsterdam, Wigmore Hall, and the Lithuanian National Philharmonic. His performances have been broadcast on Mezzo TV and radio stations across Europe. Kasparas has also performed for the Presidents of Lithuania and Poland at the Presidential Palace in Lithuania. Kasparas is currently a postgraduate student at the Royal Academy of Music. MORE Vilhelm Moqvist Born in 2003, Vilhelm Moqvist is a Swedish pianist who was recognized early for his talent. A two-time winner of the national Steinway Competition, he represented Sweden in 2018 at the International Steinway Festival in Hamburg. At the age of 14, he made his solo debut with Mendelssohn's Piano Concerto No. 1. In 2020, he performed with the Bergen Philharmonic Orchestra at the Grieg Hall and won the Polar Star Prize in 2021 for his interpretation of Prokofiev's Piano Concerto No. 3. Trained by Roland Pöntinen, he has been pursuing a Bachelor's degree at the Zurich University of the Arts (ZHdK) since 2022 in the class of Konstantin Scherbakov. Winner of several scholarships and awards, Vilhelm has performed in prestigious venues in Sweden, Germany, and Switzerland. His playing, praised for its virtuosity and stylistic sensitivity, makes him one of the most promising young pianists of his generation. MORE Les quatuors à cordes Quatuor Våren Jean-Baptiste Iachemet, violin Elliott Pages, violin David Heusler, viola Adele Quartier de Andrade, cello MORE Founded in 2017 by four high school students from Toulouse united by their passion for the string quartet, the Quatuor Våren resumed its activity in 2022 under the guidance of Luc-Marie Aguera, with whom they continue their training at the CRR in Paris. Since then, the quartet has gained recognition at numerous festivals (Saison Bleue, Moments Musicaux de la Baie du Mont-Saint-Michel…) and prestigious academies such as Cordes en Ballade, Musique à Flaine, and Virtuoso e Belcanto in Lucca. In 2024, the quartet won several international competitions, including the 1st Prize at FNAPEC, the 1st Prize at Virtuoso e Belcanto (Italy), the 2nd Prize at the Premio Giangrandi-Eggmann, and the 3rd Prize at the CIMCL in Lyon. In September 2024, they will begin their master’s degree in string quartet at the CNSMD in Paris in the class of Louis Rodde, while also being mentored by the Quatuor Ébène. As recipients of the Daverio Scholarship and members of the Dimore del Quartetto network, the Quatuor Våren is already establishing a distinctive artistic identity. Idalia Quartet Chloe Prins, violin Eleanor Holmes, violin Constance Hayward, viola Riya Hamie, cello Formed in 2022 at the Royal College of Music Junior Department, the Idalia Quartet is now made up of scholarship students at the Royal Academy of Music. Selected for the Advanced Specialist String Ensemble Training programme (2024–25), supported by the Frost Trust, the quartet receives guidance from Alex Redington (Doric Quartet). After winning 2nd Prize at the RCMJD Chamber Music Competition in 2023, they were invited to perform at the Wigmore Hall. At the Academy, they premiered Steven Goss’s quintet “Wynwood Walls” in 2023 and participated in the Manson Ensemble season, performing contemporary works including several world and UK premieres. In summer 2025, they will appear at the Petworth Proms and make their French debut at the Ferrandou Musique residency with a varied programme from Haydn to Tippett. As a young and promising ensemble, the Idalia Quartet is already making its mark on the British chamber music scene. Motus Quartet Tim de Vries, violin I Karla Križ, violin II Erin Pitts, viola Domonkos Hartmann, cello Founded in October 2022, the Motus Quartet consists of Tim de Vries, Karla Križ, Erin Pitts, and Domonkos Hartmann, who met while studying in Vienna. The quartet is currently taught by Johannes Meissl at the University for Music and Performing Arts Vienna (mdw). They‘ve also received musical guidance from notable figures like Hatto Beyerle, Eckart Runge, the Jerusalem Quartet, and the Danish String Quartet. A major highlight was working with composer György Kurtág on his „12 Microludes for string quartet, Op. 13.“ The quartet has received several accolades, including first prize and a special prize for their interpretation of an early classical piece at the 10th International Joseph Joachim Chamber Music Competition. They also won the Artis Quartet Award and the Viennese Classicism Award at the International Summer Academy of the mdw. The Motus Quartet participates in ECMA and Musethica sessions throughout Europe. They‘ve performed at prestigious venues such as the Konzerthaus Vienna, the Musikverein Vienna, and the Amsterdam Concertgebouw, with a Wigmore Hall debut set for January 2026. The ensemble‘s recent concert tours have taken them across Europe, Asia, Africa, and North America.

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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 - Patronage for young musicians Our mission is to support young musicians who have graduated from the world's top music universities. We invite them to an exceptional week of masterclass in Périgord, France, under the artistic direction of renowned professors. Our programme of excellence is based on a partnership with the best music academies. It includes daily, individual lessons enabling these young talents to perfect their own project of the classical repertoire. © Unsplash - Claude Grabriel An invitation to excellence Our story begins here, between family and friends, all united by a deep passion for music and a sense of responsibility to support the musicians of tomorrow. We invite them to join us in this place where, since the earliest traces of humanity, artists have expressed themselves in complete freedom. Our name, Ad Manaurem 1762, was inspired by Mozart's first minuets written at the age of 6, in 1762. It tells us how important it is to support young people and their potential for virtuosity. It expresses our reason for existing, a hymn to music and talent. Do you like our project? We are a non-profit organization. The more people who are enthusiastic about our organization and support it, the more young musicians we can offer this masterclass to. Your membership allows you to become a patron of tomorrow's generation of musicians and an integral part of Ad Manaurem 1762. You will be involved in this ambitious project, receive regular detailed information and, of course, meet our young talents at the final concert in July 2024. Philanthropy While we want to maintain a human approach, our project is also aimed at major donors, whether individuals, foundations or companies. Please contact us directly so that we can have the opportunity to meet you and tell you more about our project. Enterprises: Investing in young people We offer companies sponsorship programmes that fit in with their strategy. Our excellence-based approach is a genuine motivational tool for teams and can also be applied on a long-term basis. Please contact us directly so that we can have the opportunity to meet you and tell you more about our project.

Biographie de Denis Pascal, Pianiste, Directeur Artistique et Professeur pour la Masterclass 2024 de Ad Manaurem 1762 Biography Petra Andrensek is a Zurich-based singer and vocal coach, renowned for her deep understanding of music. She holds a Master's degree in Musicology and specializes in the art of speaking and singing. Petra developed a unique vocal training methodology, which she has refined over the years by coaching hundreds of diverse individuals with clear results. Content and Benefits of Voice Training The program for emerging musicians of the Masterclass 2024 aims to enhance their self-presentation skills, crucial for effective communication with audiences and interaction with juries. The goal is to equip these musicians with the necessary techniques to become confident, impactful speakers, ensuring they make a positive impression on key individuals in their career path. Her approach blends technical expertise with profound empathy, allowing Petra to unlock the potential in every voice she coaches. This has not only enhanced the vocal skills of her students but also significantly impacted their professional careers. She focuses on helping students understand their voice, how to control it and adapt it to different situations for better communication and presentation. WEBSITE PETRA ANDRENSEK © Justin Hession

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