Program Book - Jean-Yves Thibaudet, Lisa Batiashvili & Gautier Capuçon

N INET Y-THI R D SEASON Sunday, October 22, 2023, at 3:00

Chamber Music Series Jean-Yves Thibaudet Piano Lisa Batiashvili Violin Gautier Capuçon Cello HAYDN

Piano Trio in E Major, H. XV:28

RAVEL

Piano Trio in A Minor

Allegro moderato Allegretto Finale: Allegro

Moderate Pantoum: Rather fast Passacaille: Very broad— Final: Animated

INTERMISSION

MENDELSSOHN

Piano Trio No. 2 in C Minor, Op. 66 Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato

This program is partially supported by a grant from the Illinois Arts Council Agency.

COMMENTS by Richard E. Rodda JOSEPH HAYDN Born March 31, 1732; Rohrau, Lower Austria Died May 31, 1809; Vienna, Austria

Piano Trio in E Major, H. XV:28 COMPOSED

1796 or 1797

The Piano Trio in E major was composed soon after Haydn left England for the second time, in 1795. The piece was one of three such works (nos. 43–45; H. XV:27–29) written for publication by the firm of Longman & Broderip and advertised for sale on April 20, 1797, in the London Oracle. The set was dedicated to the talented pianist Therese Bartolozzi (née Jansen), a native of Aachen, Germany, who had settled in London to study with Clementi. She became one of the city’s most sought-after performers and piano teachers, and both Clementi and Dussek dedicated important sonatas to her. Haydn met Therese early in his second London residency and became close enough to her to serve as a witness at her wedding on May 16, 1795, to Gaetano Bartolozzi, son of the wellknown engraver Francesco Bartolozzi.

The difficulty of the piano part in these three compositions, the most challenging in all of Haydn’s trios, attests to Therese’s skill and musicianship.

As was typical of the eighteenth-century genre, Haydn’s Piano Trio entrusts the bulk of the musical argument to the keyboard, with the strings often relegated to augmenting and doubling roles.

Though the piece was written principally for the growing market of British and Continental musical amateurs, the music exhibits a mastery of form and style and a breadth of expression reminiscent of the contemporaneous symphonies that Haydn devised for his London concerts.

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he E major trio opens with a wondrous sound-picture, testament to the mastery of Haydn’s orchestration: an elegantly arched melody in the piano’s middle register with wisps of harmony implied by grace notes, floated upon a staccato left-hand bass line and doubled by pizzicati in the strings. A vigorous transition and a full stop usher in the second theme of this sonata form, which, in the manner of so many of Haydn’s late instrumental works, is simply the main theme dropped into a new key. Some natty piano figurations and a few new motific kernels close the exposition, providing the principal material for the development section.

a b o v e : Joseph Haydn, portrait ca. 1785. Christian Ludwig Seehas (1753–1802) | o P P o S I T e Pa G e : Maurice Ravel, photographed at the piano, 1912. Bibliothèque nationale de France

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Their working-out is interrupted by a repetition of the main theme in the remarkable key of A-flat major, a compositional alien from the other side of the harmonic universe. The tonal structure is sleekly redirected to lead to the recapitulation of the exposition’s materials.

The Allegretto begins with a lugubrious, winding unison that prefaces the piano’s solemn song, given in stark two-voice texture. Touches of harmony are finally admitted, softening the mood for the movement’s middle section.

The music and emotion of the opening return, heightened by the participation of violin and cello, and the movement,

evidence of encroaching romanticism in Haydn’s late works, ends with dramatic cadential gestures.

The finale balances the deeply expressive Allegretto with delightfully sunny music, though it, too, slips into a thoughtful minor mode for its central episode.

In writing of these late trios, H.C. Robbins Landon noted that “it is almost as if Haydn wished to show the world what possibilities in tonal relationships, harmonic subtleties, instrumental combinations, and sheer brilliance of form the genre of the trio could display in the hands of a master at the summit of his artistic career.”

MAURICE RAVEL Born March 7, 1875; Ciboure, France Died December 28, 1937; Paris, France

Piano Trio in A Minor COMPOSED

1914

Ravel first mentioned that he was planning a trio for piano, violin, and cello in a letter of 1908 in which he also announced his intentions to compose a symphony and some still amorphous work on the subject of St. Francis of Assisi. Nothing ever came of the symphony, and according to his friend and colleague, the Spanish composer

Manuel de Falla, the few sketches he made for the St. Francis project ended up in Mother Goose, but plans for the trio remained only in his thoughts and conversations. When his pupil Maurice Delage asked about the long-gestating piece, Ravel replied, “Oh, my trio is finished. I only need the themes for it.” He finally jotted down some ideas for the trio in 1913 at his summer retreat in the seaside town of St. Jean-de-Luz, in the southern Basque region. Still, serious work on the piece did not begin until the following year, when he returned CS O.O RG

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to St. Jean in April. He spent the next three months dabbling leisurely with the score and sketching out some ideas for a suite that was to become Le tombeau de Couperin and a piano concerto based on Basque themes, balancing his labors with long explorations of the surrounding countryside and abundant socializing.

This pleasant schedule was ruined when the Guns of August unleashed their fearsome roar across the Continent to start World War I in 1914.

Ravel pledged to aid France’s war effort, but first, he determined to finish the trio. On August 3, he wrote to Cipa Godebski, Heaven only knows, old chap, if this will reach you. I hope it will, for it seems to make it easier if I can write to a friend. Since the day before yesterday, this sounding of alarms, these weeping women, and above all, this terrible enthusiasm of the young people and of all the friends who have had to go and of whom I have no news. I cannot bear it any longer. The nightmare is too horrible. I think that at any moment, I shall go mad or lose my mind. I have never worked so hard, with such insane, heroic rage. . . .

I just keep working so as not to hear anything.

Ravel applied himself unsparingly to the trio for the next week and then reported to the garrison at Bayonne to apply for military service. His constitution was frail, however, and his height

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and weight below the minimum standard, so he was refused entry into the army and instead worked as an orderly in a military hospital, an exercise in patriotism that impaired his health for the rest of his life. The premiere of the Piano Trio was given on January 28, 1915, at a Société Indépendente concert in the Salle Gaveau in Paris by pianist Alfredo Casella (the Italian composer living in Paris since the 1890s and one of Ravel’s closest friends), violinist Gabriele Willaume, and cellist Louis Feuillard, but, in a country absorbed with war, the event drew little notice.

More peaceful consideration of the work has since recognized it as one of Ravel’s consummate creations.

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he first movement of the Piano Trio, written in an irregular but easily flowing meter (8/8) derived from Basque folk music, follows traditional sonata form. The main theme, begun by the piano and taken over by the strings, is a close-interval melody in sensuous, tightly packed parallel harmonies that rises to a peak of intensity before subsiding for the presentation of the subsidiary subject, a lovely, wide-ranging theme that arches through much of the violin’s compass.

The development section is concerned exclusively with the principal theme, leading seamlessly into the recapitulation, where shortened versions of the main and second subjects provide balance and formal closure. A specter of the main theme hovers above the quiescent coda.

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The second movement, titled Pantoum, serves as the trio’s scherzo.

The pantun is a Malaysian poetic form in which the second and fourth lines of one stanza become the first and third of the next. Victor Hugo, Charles Baudelaire, and other nineteenthcentury French writers adapted the pantun for some of their works, and Ravel here made an ingenious musical analogue of the technique by inserting music from the scherzo into the central trio. The outer sections of the movement are based on an evanescent triple-meter strain that requires unassuming but quite amazing feats of ensemble virtuosity. The trio section uses a broad chordal piano theme, four beats to the bar, upon which the strings try to impose the skittering music of the scherzo. No compromise is reached, however, and the roles of strings and piano are reversed, though this, too, proves an impossible thematic misalliance, which the players remedy by once again taking up the scherzo music tout l’ensemble.

The third movement is a passacaglia, the old baroque form in which a melody is repeated intact several times (eight in this trio) and glossed on each recurrence by different counterpoint and harmonies. The theme of this passacaglia is a pensive melody that first unwinds in the deep bass notes of the piano before migrating to other instrumental territories. A climax is reached at the midpoint, after which the music quiets

and returns to the lowest reaches of the keyboard to fulfill the large, arching shape of the movement’s structure.

The finale is music of enormous tensile strength whose feverish, pent-up emotion is held precisely in check by the clarity of its melodic and contrapuntal lines and the integrity of its sonata-rondo form. Ravel’s friend and biographer Roland-Manuel noted this masterful interplay of heated emotion and cool structural logic when he observed that “[this music’s] austerity is both passionate and chaste.”

Norman Demuth wrote of Ravel’s Piano Trio, This is a monumental work. Not only are the themes broad, but the whole is conceived on a big scale.

The resources of all the instruments are exploited to the fullest degree. . . . There is no gainsaying the greatness of the work and its consummate workmanship. We see the complete expression of Ravel’s genius, the sum total of his musicality. The trio bears comparison with the greatest. It is big without being grandiloquent or portentous.

There is not one note too many.

Many composers talk so much and say so little. Ravel talks a lot in this work, and every word is of moment.

It is not music for the amateur.

A real performance can be given only by players with a vast musical experience.

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FELIX MENDELSSOHN Born February 3, 1809; Hamburg, Germany Died November 4, 1847; Leipzig, Germany

Piano Trio No. 2 in C Minor, Op. 66 COMPOSED

1845

Mendelssohn was among the most successful musicians of the nineteenth century. His career showed none of the reverses, disappointments, and delays that were the rule for the other great romantic composers; indeed, it was precisely the overwork and exhaustion to meet the demands of his presence, his performances, and his compositions that led to his untimely death at the age of thirty-eight. The most intensely busy time of his life was ushered in by his appointment in 1835 as the administrator, music director, and conductor of the Leipzig Gewandhaus concerts. In very short order, he raised the quality of musical life in Leipzig to equal that of any city in Europe, and in 1842, he founded the local conservatory to maintain his standards of excellence.

(The school was to be the most highly regarded institution of its kind in the world for the next half century.) In 1841, he was named director of the Music Section of the Academy of Arts in Berlin, a cultural venture newly

instituted by King Frederick William IV of Prussia, which required him not only to supervise and conduct a wide variety of programs but also to compose upon royal demand—the incidental music that complements his dazzling 1826 overture to A Midsummer Night’s Dream was sparked by one of Frederick’s requests.

Mendelssohn toured, guest conducted, and composed incessantly, and on March 28, 1837, took on the additional responsibilities of family life when he married Cécile Jeanrenaud. “A conscientious chronicle of Mendelssohn’s next few years [after 1835] would merely weary the reader,” noted George Marek in his biography of the composer. “It would link work with more work, string success after success, place tribute next to tribute, and enumerate an ever larger register of acquaintances and friends.”

Mendelssohn won a brief hiatus from the press of his accumulating duties when he took a leave of absence from his post at the Gewandhaus during the 1844–45 season. His friend Niels Gade, the Danish composer and conductor who is generally acknowledged as the founder of the modern school of Scandinavian composition, was engaged as his replacement. Before his sabbatical began, however, Mendelssohn

a b o v e : Mendelssohn, oil portrait by Eduard Magnus (1799–1872), 1846

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had to fulfill a commitment to conduct the London Philharmonic Society Orchestra in a series of concerts during the late spring of 1844. He arrived in England in May and proposed to perform Schubert’s C major symphony (no. 9, The Great), which he had premiered at the Gewandhaus five years before, but the players derided the lengthy and difficult finale so uproariously that he withdrew the work and refused to serve up his own popular Ruy Blas Overture to the London audiences as recompense. The rest of his English engagement, however, created the spectacular success that marked each of his eight visits to that country: he conducted Beethoven’s Violin Concerto with Joachim as soloist, presented the whole of his recent Midsummer Night’s Dream music, served as soloist in his own Piano Concerto in G major, and participated in endless rounds of social engagements and chamber music soirées. Mendelssohn returned to Germany in July to conduct a music festival in Zweibrücken. The balance of the summer was spent in rest and composition at his home in Frankfurt, his main project at that time being the completion of his long-gestating Violin Concerto for the concertmaster of the Gewandhaus Orchestra, Ferdinand David. He fulfilled some obligations in Berlin during the autumn, most notably a performance of his oratorio St. Paul, given on the order of King Frederick, and then announced that he was cutting back significantly on his duties at the academy. By the beginning of 1845, he had finally managed to clear his

schedule sufficiently to devote himself to composition. He made significant progress on Elijah, scheduled for its premiere at the Birmingham Festival the following year, and completed the String Quintet in B-flat major (op. 87) and Piano Trio in C minor (op. 66). In the autumn, the king of Saxony convinced him to return to his post at the Gewandhaus. His frantic pace of life was reactivated; he was dead within two years. Except for the String Quartet in F minor (op. 80), the Trio in C minor was the last important chamber work of Mendelssohn’s career.

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he Piano Trio no. 2 was dedicated to Louis Spohr, the renowned violinist and conductor who, around 1820, was among the first maestros to threaten orchestral musicians from the podium with a pointed wooden stick rather than a violin bow or a bare hand.

Mendelssohn, who was a friend since meeting Spohr as a teenager in Berlin, followed this extraordinary practice and wielded the revolutionary baton for his epochal revival of Bach’s St. Matthew Passion in 1829 and in all of his concerts thereafter. Something of Spohr’s sturdy classical romanticism is heard in the trio. In his study of the chamber music, John Horton noted of the work’s opening movement, “Mendelssohn never wrote a stronger sonata-form allegro.” The urgent rising and falling phrases of the main theme, announced by the piano, generate a subsequent arch-shaped melody for the violin, given above the keyboard’s restless accompaniment. A sweeping subject sung in duet CS O.O RG

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by violin and cello in a brighter tonality serves as the second theme. These motifs are elaborated with immense skill and deep emotion as the movement unfolds to create a powerful utterance in which some commentators have detected the influence of Beethoven’s tempestuous Coriolan Overture.

The following Andante is an extended song without words in which the piano often serves as interlocutor for the tandem flights of the strings. The movement is laid out in a smoothly flowing three-part form whose middle section is marked by a heightened animation and a sense of adventurous harmonic peregrination. The gossamer scherzo is musical featherstitching such as has never been as well accomplished by any other composer—Mendelssohn is simply incomparable in evoking this elfin world of nocturnal wisps and fairy wonder.

The finale is built from two contrasting thematic elements: a vivacious principal subject launched by a leaping interval from the cello and a broad chorale melody introduced in a chordal setting by the piano. The main theme returns for a vigorous working-out before the chorale melody, traced by Eric Werner to the hymn “Vor Deinem Thron” (Before Your Throne) from the Geneva Psalter of 1551 (well known in English as the “Old Hundredth” or the “Doxology”—All people that on earth do dwell), is summoned in a grand, nearly orchestral guise to cap this masterwork of Mendelssohn’s fullest maturity.

Richard E. Rodda, a former faculty member at Case Western Reserve University and the Cleveland Institute of Music, provides program notes for many American orchestras, concert series, and festivals.

PROFILES Jean-Yves Thibaudet Piano Jean-Yves Thibaudet has earned a reputation as one of the world’s finest pianists through elegant musicality and an insightful approach to contemporary and established repertoire. In addition to his many forays into jazz and opera, including works he transcribed for the piano, Thibaudet has forged profound

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friendships around the globe, leading to fruitful collaborations in the film, fashion, and visual arts. A recording powerhouse, he appears on over seventy albums and six film scores. He is a devoted educator and the first-ever artist-in-residence at the Colburn School in Los Angeles, which awards several scholarships in his name.

Thibaudet began the season touring Europe with the Boston Symphony Orchestra, performing two of his signature works: Gershwin’s Concerto in F and Saint-Saëns’s Piano Concerto P H OTO BY E . C A R E N

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no. 5. Later, he performs these works with the Toronto, Baltimore, Nashville, Indianapolis, North Carolina, Pittsburgh, and Chicago symphony orchestras. He also appears with the Los Angeles Philharmonic, Houston Symphony, Orchestre Philharmonique de Radio France, Bern Symphony, Helsinki Philharmonic, New World, San Diego, and San Francisco symphonies.

In addition to his orchestral performances, Thibaudet embarks on a trio tour of the United States with longtime collaborators Gautier Capuçon and Lisa Batiashvili. He and Michael Feinstein will continue their acclaimed program, Two Pianos: Who Could Ask for Anything More?, presenting works

by Gershwin, Rodgers, and others in new arrangements for piano, voice, and orchestra.

Thibaudet records exclusively for Decca. His extensive catalog has received two Grammy nominations, two ECHO awards, the German Record Critics’ Award, Diapason d’Or, Choc du Monde de la Musique, Edison Prize, and Gramophone awards. His most recent solo album, 2021’s Carte Blanche, features a collection of deeply personal solo piano pieces never before recorded by the pianist. Other recordings include a 2017 recording of Bernstein’s Age of Anxiety; the complete solo piano music of Debussy and Satie; Grammy-nominated recordings of Ravel’s complete solo piano works and Saint-Saëns: Piano Concertos Nos. 2&5; the jazz albums Reflections on Duke and Conversations with Bill Evans; and Aria: Opera Without Words, which

features arias transcribed for solo piano

by Thibaudet himself.

Thibaudet was soloist on Aaron Zigman ’s score for Wakefield, which was the first time the composer allowed a pianist other than himself to perform his film work. He was also soloist in Dario Marianelli’s award-winning scores for the films Atonement and Pride and Prejudice, and the soundtracks for Extremely Loud & Incredibly Close and Wes Anderson’s The French Dispatch.

He had a cameo in Bruce Beresford’s film on Alma Mahler, Bride of the Wind, where his playing is showcased throughout. His concert wardrobe is designed by the late Dame Vivienne Westwood.

Jean-Yves Thibaudet was born in Lyon, France, where he began piano studies at age five, making his first public appearance at seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves. At age fifteen, he won the Premier Prix du Conservatoire and three years later, the Young Concert Artists Auditions in New York City.

Among his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Previously a Knight of the Order of Arts and Letters, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012. In 2020 he was named Special Representative for the promotion of French Creative and Cultural CS O.O RG

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Industries in Romania. Along with Gautier Capuçon, he is co-artistic advisor of the Festival Musique & Vin au Clos Vougeot.

Lisa Batiashvili Violin Lisa Batiashvili, the Georgian-born German violinist, is praised by audiences and fellow musicians for her virtuosity. An award-winning artist, she has developed long-standing relationships with the world’s leading orchestras, conductors, and musicians. In 2021 Batiashvili formed the Lisa Batiashvili Foundation, which she continues to lead, serving her lifelong dream and commitment to support young, highly talented Georgian musicians to thrive in their musical careers.

This season, Batiashvili takes up her residency with the Berliner Philharmoniker, performing at home and on tour with conductors Kirill Petrenko and Daniel Barenboim. She performs chamber concerts with musicians from the Wiener Philharmoniker, as well as with Emmanuel Pahud, Jörg Widmann, Denis Kozhukhin, and Tsotne Zedginidze—a talented young Georgian pianist and composer supported by her foundation. The final part of Batiashvili’s residency features her as soloist with the Berliner Philharmoniker Academy. She returns to the stage with pianist Jean-Yves Thibaudet and

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cellist Gautier Capuçon, giving recitals and master classes across the United States, culminating in a performance at Carnegie Hall. She also performs a number of recitals with Giorgi Gigashvili.

The season will see her performing with the Münchner Philharmoniker, San Francisco Symphony, and Netherlands Philharmonic Orchestra.

Recording exclusively for Deutsche Grammophon, Batiashvili released her latest album, Secret Love Letters, in August 2022, featuring the Philadelphia Orchestra with Yannick Nézet-Séguin and pianist Giorgi Gigashvili.

Her previous 2020 recording, City Lights, marks a musical journey that takes listeners to eleven cities around the world. It has an autobiographical connection with music ranging from Bach to Morricone, Dvořák, and Charlie Chaplin. A twelfth city was added in 2022 with the release of her single, Desafinado, celebrating Rio de Janeiro.

At the renowned Concert de Paris on Bastille Day in 2020, she performed the title track, City Memories, which was broadcast internationally.

Her impressive discography also includes Visions of Prokofiev (Chamber Orchestra of Europe and Yannick Nézet-Séguin), which won an Opus Klassik Award and was shortlisted for a Gramophone Award in 2018. Earlier recordings include the concertos of Tchaikovsky and Sibelius (Staatskapelle Berlin and Daniel Barenboim), Brahms (Staatskapelle Dresden and ​Christian Thielemann), and Shostakovich (Bavarian Radio Symphony Orchestra and Esa-Pekka Salonen).

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Bastiashvili has released DVDs of live performances with the Berliner Philharmoniker and Staatskapelle Dresden.

She has won a number of awards, including the MIDEM Classical Award, Choc de l’année, Accademia Musicale Chigiana International Prize, Schleswig-Holstein Music Festival’s Leonard Bernstein Award, and Beethoven Ring. Batiashvili was named Musical America’s Instrumentalist of the Year in 2015, nominated as Gramophone’s Artist of the Year in 2017, and in 2018 was awarded an honorary doctorate from the Sibelius Academy (University of Arts, Helsinki).

Bastiashvili was artistic director of Audi Sommerkonzerte Ingolstadt from 2019 to 2022.

She lives in Berlin and plays a Giuseppe Guarneri​“del Gesù” from 1739, generously loaned by a private collector.

Gautier Capuçon Cello Gautier Capuçon is a true twenty-firstcentury ambassador for the cello.

Performing internationally with many of the world’s foremost conductors and instrumentalists, he is also deeply committed to educating and supporting young musicians from every background. In the summer of 2020, Capuçon brought music directly into P H OTO BY A N O U S H A B R A R

the lives of families across the length and breadth of France during his musical odyssey, A Summer in France.

The fifth edition of the project, featuring young musicians and dancers, takes place in July 2024. In January 2022, Gautier Capuçon launched his own foundation to support young and talented musicians at the beginning of their careers. He is a passionate ambassador for the Orchestre à l’École Association, which brings classical music to over 42,000 schoolchildren across France.

A multiple award winner, Capuçon is acclaimed for his expressive musicianship, exuberant virtuosity, and the deep sonority of his 1701 Matteo Goffriller cello “L’Ambassadeur.” He performs with world-leading orchestras each season under conductors such as Semyon Bychkov, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Andrès Orozco-Estrada, Pablo Heras-Casado, Paavo Järvi, Klaus Mäkelä, Andris Nelsons, and Christian Thielemann.

Collaborations with contemporary composers include Lera Auerbach, Karol Beffa, Esteban Benzecry, and Nicola Campogrande, among others.

Highlights of the 2023–24 season include return visits as soloist with the Los Angeles Philharmonic, Münchner Philharmoniker, Orchestre Nationale de France, and Wiener Philharmoniker.

He tours through Europe with the Wiener Symphoniker and is artistin-residence with the Dresden Philharmonic and Shanghai Symphony Orchestra. Capuçon rejoins longtime musical partners Lisa Batiashvili and CS O.O RG

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Jean-Yves Thibaudet on a tour across the United States from Walt Disney Hall to Carnegie Hall. This season also sees a European tour with pianist Daniil Trifonov, performing in Berlin, Brussels, Paris, Dresden, and Vienna.

Recording exclusively for Erato (Warner Classics), Capuçon has won multiple awards and holds an extensive discography featuring major concerto and chamber music literature.

His album Destination Paris, coming in November 2023, celebrates French music from classical repertoire to film scores, and Emotions, featuring music by Debussy, Schubert, and Elgar, has achieved gold status in France.

Other albums explore short, popular pieces from a range of different genres, generating tens of millions of streams. Highlights of his back catalog include Beethoven’s complete sonatas with Frank Braley; an album of Schumann works recorded live with Martha Argerich, Renaud Capuçon,

and Chamber Orchestra of Europe; sonatas by Chopin and Franck with Yuja Wang; and a solo album featuring Bach, Dutilleux, and Kodály to mark Capuçon’s fortieth birthday.

He has been featured on DVD in live performances with the Wiener Philharmoniker, Berliner Philharmoniker, and Sächsische Staatskapelle Dresden.

Born in Chambéry, France, Gautier Capuçon began playing cello at age five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie CochetZakine and later with Heinrich Schiff in Vienna. Now a household name in his native France, Capuçon appears on screen and online in shows such as Prodiges, Now Hear This, Symphonie pour la Vie, and The Artist Academy and is a guest presenter on Radio Classique in the show Les carnets de Gautier Capuçon.