M. Adámek, M. Vermeulin, H. Kang, M. Coppey

Hae-Sun Kang

„Hae-Sun Kang’s supernatural stamina and precision, together with her spotless intonation, an exquisite, crystal-clear sound, and a phenomenal musical creativity, is a revelation for me.“

Unsuk Chin
Hae-Sun Kang is one of the most sought-after violinists on the international contemporary music scene. She is held in high regard by audiences and composers alike, as evidenced by the ever-growing number of works that have been dedicated to her.
The soloist is regularly invited to perform in prestigious concert halls including Carnegie Hall, Lincoln Center, Concertgebouw Amsterdam, Musikverein Vienna and Philharmonie de Paris, as well as at many festivals such as the Salzburg Festival, Wien Modern, Lucerne Festival, Musica Nova (Helsinki) and Festival Musica to name just a few. Hae-Sun Kang has premiered many important works for her instrument, including some that have gone down in the history of contemporary music. This is the case for Pierre Boulez’ Anthèmes 2 for solo violin and electronics, which she premiered in 1997 in Donaueschingen and recorded for Deutsche Grammophon. Since then she has regularly performed the work in concert halls and at festivals all over the world, so she did 2015 in Baden-Baden on the occasion of Pierre Boulez’s 90th birthday. In the same year, she performed Anthèmes 2 at the Opéra National de Paris in a staged version with choreography by Wayne McGregor. Hae-Sun Kang’s close collaboration with living composers is also reflected in the violin concertos she has premiered: she gave the world premiere of Pascal Dusapin’s Quad in 1997 in Paris and performed on the South Korean premiere of his violin concerto Aufgang with the Seoul Philharmonic Orchestra under Myung-Whun Chung in April 2015. She has also performed concertos by Ivan Fedele, Beat Furrer and Matthias Pintscher with the Orchestre National de Belgique, Vienna Radio Symphony Orchestra and Deutsches Symphonie-Orchester, among others. She recorded Michael Jarrell’s violin concerto …prisme/incidences… in 2007 for the French label Aeon with the Orchestre de la Suisse Romande. After its world premiere in Stuttgart, she performed Philippe Manoury’s Synapse in France (with the Strasbourg Philharmonic Orchestra in 2011 and Orchestre Philharmonique de Radio France in 2012), in South Korea (with the Seoul Philharmonic Orchestra) and in Germany (2016 with the Bavarian Radio Symphony Orchestra under the direction of Susanna Mälkki).
In her solo recitals, Hae-Sun Kang frequently performs new pieces written especially for her such as Trait d’Union for violin and violoncello by Philippe Hurel (Festival Messiaen, 2013), Red for solo violin by Martino Traversa (Festival Traiettorie, 2012), Raggi di Stringhe for violin and electronics by Lara Morciano (Centre Pompidou, 2011), Samarasa for solo violin by Dai Fujikura (Festival Messiaen, 2010), Bruno Mantovani’s All’ungarese for violin and piano (Festival Messaien, 2009), Marco Stroppa’s Hist Whist for violin and electronics (Printemps des Arts de Monaco, 2008), Georges Aperghis’ The Only Line (Munich Opera Festival, 2008), Beat Furrer’s solo work for violin (Ultraschall Festival Berlin, 2007) and Unsuk Chin’s Double Bind? (Paris, Théâtre des Bouffes du Nord, 2007). Since its world premiere in 2012, Hae-Sun Kang has performed Philippe Manoury’s Partita II for solo violin and live electronics (co-commissioned by the Festival Messiaen, Lucerne Festival and Françoise & Jean-Philippe Billarant) on numerous occasions, including at the Festival Musica in Strasbourg and in 2016 a new version for ensemble and live electronics with the Ensemble Linéa as part of the Festival ManiFeste at the IRCAM festival. She performed Jonathan Harvey’s Scena with the Philharmonia Orchestra during a concert to mark the composer’s 75th birthday in 2014. The same year, she gave the world premiere of Benjamin Attahir’s Izaaj for violin and ensemble at the Festival Messiaen. In 2016, Hae-Sun Kang premiered the ensemble version of Matthias Pintscher’s Mar’eh with the Ensemble Intercontemporain at the Philharmonie de Paris under the composer’s direction.
Hae-Sun Kang began playing the violin at the age of three in her native South Korea. At the age of 15, she moved to Paris to continue her studies at the Conservatoire National Supérieur de Musique, where she teaches today. Inspiring figures in her musical development included Yfrah Neaman, Franco Gulli, Wolfgang Schneiderhahn, Herman Krebbers, Josef Gingold and Yehudi Menuhin. She has won prizes at several major international violin competitions (Rodolfo Lipizer, ARD Music Competition, Carl Flesch, Yehudi Menuhin). In 1994, she joined the Ensemble intercontemporain as a solo violinist. Hae-Sun Kang now teaches chamber music and contemporary repertoire at the Conservatoire Supérieur National de Musique et de Danse de Paris and was named Chevalier de l’Ordre des Arts et des Lettres by the French Ministry of Culture in 2014.

Marc Coppey

“Coppey’s first entry suggests unflappable confidence and when the music takes flight soon afterwards he employs a keen-edged staccato while retaining his characteristic rich body of tone. Also, Coppey’s approach exploits the instrument’s entire range with ease: the lovely second subject is as gently seductive as the more assertive passages are bracing. Try the perfect diminuendo at 1’36” into the Adagio: this sort of playing has me reaching for the rewind facility just for the pleasure of enjoying it a second or third time… there is something about Coppey’s aching restraint that even after such a brief period of acquaintance has had me return to his version on a number of occasions. So far the magic hasn’t abated.”
Gramophone, Rob Cowen, DVOŘÁK Cello Concerto, July 2017
Marc Coppey is considered to be one of today’s leading cellists. He first came to the notice of Sir Yehudi Menuhin in the 1988 Leipzig Bach competition where he won the two most important prizes – first prize and special prize for the best Bach performance. He was 18 at the time. He soon after made his Moscow and Paris debuts performing the Tchaïkovsky Trio with Menuhin and Victoria Postnikova, a collaboration documented on film by the famous film director Bruno Monsaingeon. In 1989 Mstislav Rostropovitch invited Marc to the Evian Festival and from that moment on his solo career quickly developed. He performs regularly as a soloist with leading orchestras in collaboration with numerous distinguished conductors – Eliahu Inbal, Rafael Frühbeck de Burgos, Yan-Pascal Tortelier, Emmanuel Krivine, Alan Gilbert, Christian Arming, Lionel Bringuier, Alain Altinoglu, Michel Plasson, Jean-Claude Casadesus, Theodor Guschlbauer, John Nelson, Raymond Leppard, Erich Bergel, Philippe Entremont, Pascal Rophé, Philippe Bender, Paul McCreesh, Yutaka Sado, Kirill Karabits and Asher Fisch.
Marc Coppey has embraced both Baroque and Contemporary music, along with mainstream Romantic repertoire, from the very begining of his career. A passionate chamber musician, he has extensively explored the cello’s repertoire with such renonwed artists as Maria-João Pires, Stephen Kovacevich, Nicholas Angelich, Aleksandar Madzar, Michel Beroff, Kun-Woo Paik, Finghin Collins, Michel Dalberto, Peter Laul, François-Frédéric Guy, Nelson Goerner, Augustin Dumay, Vadim Gluzman, Victoria Mullova, Liana Gourdjia, Valeriy Sokolov, Ilya Gringolts, Alina Pogostkina, Tedi Papavrami, David Grimal, Lawrence Power, Maxim Rysanov, Gérard Caussé, Janos Starker, Marie-Pierre Langlamet, Michel Portal, Romain Guyot, Emmanuel Pahud as well as the Takacs, Tokyo, Prazak, Modigliani, Ebène and Talich Quartets. From 1995 to 2000 he was cellist of the Ysaÿe Quartet, performing in many of the world’s most prestigious concert venues.
Marc Coppey appears regularly in the most prestigious concert halls of London, Berlin, Amsterdam, Paris, Brussels, Dublin, Prague, Budapest, Moscow, Saint-Petersburg, Tokyo, New York, Mexico, Sao Paulo, Shanghai and Seoul. He is a regular guest of the festivals of Radio-France Montpellier, Musica Strasbourg, Besançon, La Roque d’Anthéron, Monte-Carlo, the Nantes and Lisbon “Folle Journée”, Bach Fest in Leipzig, Stuttgart, Midem, Kaposvar, Campos do Jordao, Kuhmo, Korsholm, West Cork and Prades.
The breadth of Marc Coppey’s repertoire is proof of his profound inquisitiveness: he frequently performs the Bach suites and main stream concerto repertoire, but is also dedicated to performing less well-known works. Performing and promoting contemporary music is very important to him and many composers have dedicated works to him, including Auerbach, Bertrand, Christian, Dufourt, Durieux, Fedele, Fénelon, Hurel, Jarrell, Jolas, Krawczyk, Lenot, Leroux, Mantovani, Meïmoun, Monnet, Pauset, Poppe, Pécou, Reverdy, Staud, Tanguy, Verrières. He gave world premières of concertos by Lenot, Tanguy and Monnet, as well as giving French premieres of concertos by Carter, Mantovani and Tüür.
In November 2009 Marc Coppey was chosen to perform Bach in the Place de La Concorde in Paris to celebrate the 20th anniversary of the fall of the Berlin wall. In 2015, the Arte tv channel filmed him live performing the complete Bach Suites in one evening in Lyon.In March 2015 he premièred ten works for solo cello by some of today’s most prominent composers as a tribute to Pierre Boulez on his 90th birthday at the Paris Philharmonie. The programme was recorded and released in January 2017 on the Megadisc label.
Marc Coppey’s recordings have received critical acclaim worldwide. They include works by Beethoven, Debussy, Emmanuel, Fauré, Grieg and Strauss, for the Auvidis, Decca, Harmonia Mundi and K617 labels. He has recorded the complete Bach Suites (awarded Télérama’s ffff), a CD dedicated to Dohnanyi (awarded “10 de Répertoire”), and an album devoted to the great Russian cello sonatas, accompanied by pianist Peter Laul for the Aeon/Outhere label, as well as the Schubert Quintet with the Prazak Quartet for the Praga label and Martin Matalon’s concerto for Accord / Universal. More recently he has recorded Dutilleux cello concerto and the Caplet Epiphanie with the Liège Orchestra under Pascal Rophé’s direction which received a BBC Music Magazine *****, a Diapason d’Or and a “Choc” in the Monde de la Musique, followed by recordings of the Brahms Sonatas and Schubert (Arpeggione) with pianist Peter Laul, also for Aeon, and world premières of the concertante works of Théodore Dubois on the Mirare label.
In 2016, his recording of the Haydn and CPE Bach cello concertos with the Zagreb Soloists was released by Audite. His recording of Dvořák’s cello concerto for the same label with the Deutsches Symphonie-Orchester Berlin directed by Kirill Karabits has received wide international critical acclaim. In the spring of 2018 Audite will release a Beethoven sonata cycle recorded live in the Saint Petersburg Philharmonic Hall with pianist Peter Laul.
Marc Coppey is also deeply committed to teaching: he is cello professor at the Conservatoire National Supérieur de Paris and gives masterclasses worldwide. He is artistic director of the Musicales de Colmar chamber music festival, and since 2011 musical director of the Zagrebacki solisti (Zagreb Soloists).
He was made Officier des Arts et des Lettres by the French culture ministry in 2014.
Marc Coppey was born in Strasbourg where he studied at the Conseravtory before attending the Paris Conservatoire National Supérieur and the University of Indiana in Bloomington.
He performs on a rare cello by Matteo Goffriller (Venice 1711).

Marie Vermeulin

Née en 1983, Marie Vermeulin se forme auprès de personnalités musicales telles que Marie-Paule Siruguet au CRR de Boulogne, ou Hortense Cartier-Bresson au CNSMD de Lyon. Elle se perfectionne parallèlement auprès de Lazar Berman qui l’accueille chaleureusement en Italie, puis auprès de Roger Muraro, bénéficiant ainsi de la connaissance profonde du pianiste pour l’œuvre du XXème siècle français.

En 2004, elle remporte le 1er Prix du Tournoi International de Musique (Rome), en 2006, le 2ème prix au Concours International Maria Canals (Barcelone), puis en 2007 le 2ème Prix du Concours International Olivier Messiaen (Paris). Elle est également lauréate en 2009 du Prix International “Pro Musicis”, association qui vise à offrir des moments musicaux à un public n’ayant pas la possibilité de se rendre à des concerts classiques.
Soutenue par plusieurs fondations (Fondation Safran pour la musique, Mécénat Musical Société Générale…) et par l’Institut Français pour des tournées à l’étranger, Marie Vermeulin a su imposer en peu de temps un jeu remarqué pour sa témérité technique, sa finesse de timbres et sa maturité.
En novembre 2014, l’ensemble de sa carrière est récompensé par l’Académie des Beaux-Arts et le Prix d’Interprétation de la Fondation Simone et Cino Del Duca, de l’Institut de France.

Marie Vermeulin est l’invitée de nombreux festivals et salles de premier plan, tels que l’Opéra de paris, la Philharmonie, le théâtre des Champs-Elysées, la Scala-Paris, le théâtre des Bouffes du Nord, l’Opéra de Limoges, l’Opéra de Saint-Etienne, la Salle Molière à Lyon, le Centre Pompidou-Metz, Nouveau Siècle de Lille, plusieurs Scènes nationales (Tarbes, Cherbourg, Arras, Evry, Besançon, Châteauroux…), ou encore les festivals Musica à Strasbourg, Messiaen au pays de la Meije, Piano Folies, Nohant festival Chopin, Lisztomanias, Chambord, Lille Pianos Festival…

À l’étranger, Marie Vermeulin se produit en Espagne – à Madrid (Circulo de Bellas Artes/Teatro Real), à l’invitation de Gérard Mortier, mais aussi à Barcelone (Palau de la Musica) – ainsi qu’en Italie (festivals de Monopoli et Bari), en Allemagne (Kulturkreis Gasteig de Munich), en Chine, en Turquie, en Lituanie, en Algérie, en Moldavie, au Monténégro, au Liban, en Asie du sud-est (Vietnam, Indonésie, Philippines), à New York (consulat de France) ou à Londres (Wigmore Hall).

Marie Vermeulin a interprété notamment les Oiseaux Exotiques de Messiaen avec l’Ensemble Intercontemporain (direction Pierre Boulez), le concerto de Clara Schumann avec l’Orchestre de l’Opéra de Toulon (direction Debora Waldman), le concerto K453 de Mozart avec l’Orchestre de chambre de Wallonie (direction Sir Paul Goodwin), le concerto en sol de Ravel avec l’orchestre Symphonique de Mâcon (direction Eric Geneste), le cinquième concerto de Beethoven et le deuxième concerto de Brahms avec l’Orchestre Philharmonique du Liban (direction Walid Moussallem),… Elle se produira en 2019 avec l’Orchestre Victor Hugo Franche Comté et l’Orchestre Lamoureux.
Passionnée par la musique contemporaine, elle travaille en étroite collaboration avec des compositeurs d’aujourd’hui tels Tristan Murail, François Meïmoun, Thierry Pécou, Alain Louvier, George Benjamin, François-Bernard Mâche, Marco Stroppa, Jérôme Combier, Pierre Boulez…

En 2008, Universal/Deutsche Grammophon demande à Marie Vermeulin de participer à son intégrale Messiaen. En 2013 paraît son premier disque solo, très remarqué : consacré à Olivier Messiaen, ce CD (label Paraty) a reçu notamment un ffff de Télérama (Gilles Macassar). Le dernier disque de Marie Vermeulin, sorti en 2016 et consacré à Debussy (label Printemps des Arts de Monte-Carlo), est lui aussi salué unanimement par la presse spécialisée (Pianiste, Diapason, Resmusica, **** de Classica…).

Martin Adámek

Despite his young age, Slovak clarinetist Martin Adámek has developed a rich solo, chamber music, and orchestral career. He has performed in numerous concert halls in Europe, North America and Asia. While pursuing his studies at the Conservatory of Bratislava (Slovakia) and the Janáček Academy of Performing Arts in Brno (Czech Republic) he was a member of the Gustav Mahler Jugendorchester, with which he played in Royal Concertgebouw in Amsterdam, Royal Albert Hall in London, Megaron Hall in Athens, and Gulbenkian in Lisbon, to name a few. In 2017, he performed the Swiss premiere of Michel van der Aa’s Clarinet concerto Hysteresis with the Ensemble of the Lucerne Festival Academy and under the baton of Matthias Pintscher.
Since 2016, he has been a soloist of the Ensemble Intercontemporain – one of the world’s most respected contemporary music groups – founded in 1976 by Pierre Boulez. Moreover, he is a member of the Alma Mahler Kammerorchester, which he co-founded in 2017. It specialises in symphonic reductions of 19th and 20th centuries, including original repertoire for chamber orchestra and chamber music of various styles and periods.
In 2016, he founded the trio Sen Tegmento with Zuzana Biščáková (piano) and Nao Higano (soprano), which specialises mainly in contemporary music and commissions new works by composers from Slovakia and abroad.
He received first prize at the Leoš Janáček International Competition (Czech Republic, 2014) and Clarinetto Concorso Carlino (Italy, 2013) as well as other awards. At various masterclasses, he has had the opportunity to study with Charles Neidich, Yehuda Gilad, Harri Mäki, Philippe Berrod and others.
Martin has performed at various international and national festivals – BBC Proms, Salzburg Festival, Berliner Festspiele, Lucerne Festival, Biennale Boulez, Young Euro Classics, Muzički Biennale Zagreb, Festival Forfest, Grafenegg Festival, Melos-Étos, Viva Musica!, Ars Nova, and Schubert Fest among others.

Tristan Murail

Born in Le Havre in 1947, Tristan Murail received advanced degrees in classical and North African Arabic from the Ecole Nationale des Langues Orientales Vivantes, as well as a degree in economic science, while at the same time pursuing his musical studies. In 1967, he became a student of Olivier Messiaen at the Paris Conservatory, and also studied at the Institut d’Etudes Politiques in Paris, graduating three years later. In 1971, he was awarded the Prix de Rome, and later received a First Prize in composition from the Paris Conservatory. He spent the next two years in Rome, at the Villa Medicis.
Upon returning to Paris in 1973, he co-founded the Ensemble L’Itineraire with a group of young composers and instrumentalists. The ensemble quickly gained wide recognition for its fundamental research in the area of instrumental performance and live electronics.
In the 1980s, Tristan Murail used computer technology to further his research in the analysis and synthesis of acoustic phenomena. He developed his own system of microcomputer-assisted composition, and then collaborated with Ircam for several years, where he taught composition from 1991 to 1997, and took part in the conception of the computer-assisted composition program “Patchwork”. In 1997, Tristan Murail was named professor of composition at Columbia University in New York, teaching there until 2010.
Again in Europe, he continued giving master-classes and seminars all over the world, was guest professor at the Mozarteum University in Salzburg for three years, and is currently guest professor at the Shanghai Conservatory.