33 THÉO FOUCHENNERET After pocketing an award at the Victoires de la Musique Classique the following year, he was already giving more and more recitals, and a project was born: a first CD for La Dolce Volta of Beethoven’s ‘Waldstein’ and ‘Hammerklavier’ Sonatas. Although he felt these musical monuments should not wait until one was great in years, he knows that sometimes you do have to give music time to mature. His thirst for repertoire must be tempered by his insistence that his work should always reach the highest standards. Then Fauré’s Nocturnes, in their turn, reached the recording studio after a long incubation period. And now Théo looks to the future: Mendelssohn, and Schubert a little later . . . One day, perhaps, he will record Bach, whose organ works he admires: going back in time to reach the source of the music he plays today and, following in the footsteps of Murray Perahia and András Schiff, to find clarity of discourse and sound, purity of emotion in the tranquil expressivity of counterpoint. Ever since his early experiences at home, chamber music, with its promise of enriching encounters and multiple projects, has occupied a constant place in his artistic existence From Beethoven to Stravinsky, from duos to quintets, he has so much music in his repertoire! It is to Robert Schumann that he has chosen to devote his first survey of a composer’s chamber music, launched with a recording of the complete works for violin and piano alongside his brother. Béla Bartók also figures in his pantheon: Hortense Cartier-Bresson passed on to him her fascination for this music, the variety of its emotions, the strength of its architecture. In concert, the Sonata for Two Pianos and Percussion is always an exhilarating adventure. How about recording it? ‘A dream! But you have to be patient with this work.’ For Théo Fouchenneret, some works should be laid down, like the best vintage wines.
RkJQdWJsaXNoZXIy OTAwOTQx