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Hélène Tysman Hélène Tysman Pianist www.helene-tysman.com Hélène Tysman • Pianist Summary Biography p. 3 An artist of our time p. 4 Echoes in the press p. 7 Critics from international competitions (2007, 2010) p. 9 CD Releases (2010, 2012, 2013/14) p. 10 Concerts 2014 - 2015 p. 20 Pluridisciplinary projects p. 21 Chamber music p. 24 __________________________________________________________________________________________" Contact'':'' Hélène'Tysman''•''+33'1'41'93'71'76''•'[email protected]''•''[email protected]' 2 " ! HELENE TYSMAN BIOGRAPHY Hailed as "poetic" by The Daily Telegraph, praised for her Chopin interpretation which "mixed excitement with eloquence" by the Gramophone Chopin Express, French pianist Hélène Tysman first broke onto the international music scene as a laureate of the 16th International Chopin Piano Competition in Warsaw. A few years earlier she had been awarded First Prize in the European Darmstadt Chopin Piano Competition (Germany) and was prizewinner in England (Newport International Competition for Young Pianists), Germany (Nauen International Piano Competition), China (Hong Kong International Piano Competition) and the United States (Minneapolis International Piano-e- Competition). She is also a laureate of the Georges Cziffra Foundation in Senlis (France) and the Chopin Foundation in Hanover. Her Chopin interpretations have been acclaimed by critics and audiences all over the world and led to the release of two Chopin recordings for Oehms-Classics (2010, 2013). After graduating from the Paris Conservatoire where she studied with Pierre-Laurent Aimard, she went to Vienna to work with Oleg Maisenberg and then to Germany (Hamburg and Weimar) where she obtained her master's degree under the guidance of Grigory Gruzman. As a soloist she has played with orchestras such as the BBC National Orchestra of Wales, the Russian Chamber Philharmonic St. Petersburg, the Minnesota Orchestra, the North Czech Philharmonic Teplice, and the Koszalin (Poland) Philharmonic Orchestra, with conductors such as Christopher Warren-Green, Mark Russell Smith and Antoni Wit. Her recital appearances have taken her throughout Europe and to Israel, Morocco, Russia and Asia, performing in prestigious concerts halls like the Laeiszhalle and Neue Weimarhalle in Germany and the Cité de la Musique and salle Gaveau in Paris. Highlights of Hélène’s future engagements include performances in China, Russia, Poland, Paris, Germany, collaborating among others with the Thühingen Philharmonic Orchestra and German actor Dominique Horwitz. She has been featured on the international arts television station Mezzo and is regularly invited on French national radio. A keen chamber musician, she released a Schumann recording with the soloists of Orchestre de Paris (Indésens Record, 2012). Drawn to wider artistic horizons, Hélène Tysman also collaborates with artists from other disciplines including a series of performances with the celebrated French actor Francis Huster (Chopin/Musset) and a Debussy/Poe show with the multi-disciplinary artist Yanowski. This show will tour all over the France in 2014-15 as a co-production of the Jeunesses Musicales de France. __________________________________________________________________________________________" Contact'':'' Hélène'Tysman''•''+33'1'41'93'71'76''•'[email protected]''•''[email protected]' 3 " ! ' Hélène Tysman • An artist of our time by Kevin Kenner I have had the opportunity to listen to pianist Hélène TYSMAN as a member of the jury during her participation in the most recent edition of the International Chopin Competition in Darmstadt, Germany, where she was awarded the 1st prize. Hélène made a considerable impression on all of us on the jury from the onset of the competition. She has a highly individualised approach to the piano, with a unique sense of sound, color and rubato, sometimes reminiscent of the vivid performances of great pianistes earlier in the century. She demonstrated a full technical command of the instrument and a seasoned artistry that is unusual for a pianist of her young age. Hélène’s performance made an indelible impression on me, and I have no question that Hélène has a very bright future in music as a performer. I highly recommend her to any competition or institution that may support and further her ambitions. " Kevin Kenner’s letter, as Chairman of the jury of the Chopin Competition in Darmstadt __________________________________________________________________________________________" Contact'':'' Hélène'Tysman''•''+33'1'41'93'71'76''•'[email protected]''•''[email protected]' 4 " ! Hélène Tysman • An artist of our time by Pascal Rogé I heard Hélène Tysman during the 2d International Piano Competition of Hong Kong where I was invited as a member of the jury and I personally considered her as the most talented of all competitors. Apart form her flawless technique, I was particularly impressed by her musical ideas and her very personal approach of each piece she has played. She was very convincing with her musical interpretation and she was able to express her emotions with a highly sensitive, spontaneous and subtle style. I commend her very warmly and wish her the best for her career. I have no doubts she will be soon among the young stars of the international piano scene. Pascal Rogé’s letter, as jury member of the international Hong-Kong Competition __________________________________________________________________________________________" Contact'':'' Hélène'Tysman''•''+33'1'41'93'71'76''•'[email protected]''•''[email protected]' 5 " ! Hélène Tysman • An artist of our time Testimony by composer François Meïmoun, on the occasion of the first performance of his Piano Sonata No.1 (2011) Creative interpretation For a few years now, musicology has been taking an interest in the history of interpretation: the study of instrumental arrangements and performance conditions, and the analysis and comparison of recordings constitute a few of the main areas of investigation. In regards to musical interpretation, strictly speaking, researchers are examining the relation to the text and its variations from one artist to another, which they divide into two categories: On the one hand there are the literal performers whose ego bends unfailingly to the composer's demands, musicians who see themselves as readers of the musical thinking of others and absolutely faithful to the representation of the text and its author. On the other hand are the iconoclastic performers who knowingly bring the text to themselves, developing an assertive point of view, an original stand, a singular reading, like Glenn Gould tackling the late Beethoven sonatas. Hélène Tysman renounces neither of these two approaches, a conciliation that constitutes one of the singularities of her art. Nothing of the text is sacrificed, and the vision given of the work always turns out to be unexplored and original. Furthermore, the qualities of sound never sacrifice the architecture: the instant, like the large form, are at the same moment thought out and reproduced. François Meïmoun __________________________________________________________________________________________" Contact'':'' Hélène'Tysman''•''+33'1'41'93'71'76''•'[email protected]''•''[email protected]' 6 " ! Written press Süddeutsche Zeitung by Klaus P. Richter April 2011 Klangspezereien, the Art of sound The young pianist Hélène Tysman, in the small concert hall of the Gasteig (Philharmonie of Munich) Meticulous phrasing that is very convincing Munich – Concerning the six partitas of the collection Clavier-Übung I, Johann Nikolaus Forkel, Johann Sebastian Bach's first biographer, wrote: 'Whoever has already learnt to correctly interpret a few pieces from this collection will be able to try his luck all over the whole…' This is still the case for present-day pianists, even though trying one's luck has become much more arduous, notably because, on the field of luck, there is strong competition amongst harpsichordists. This is one reason why Bach's highly virtuosic etudes are often used for the 'compulsory works' on the pianoforte. For her Munich debut in the small concert hall of the Gasteig, French pianist Hélène Tysman convinced with the delicacy of her phrasing in the Allemande and Courante from the Partita in B flat major BWV 825. In the Gigue, she demonstrated a martial rigour whereas in the Sarabande, the winner of the Chopin Competition showed her hand: finely coloured repeats, masterful playing full of refined sonorities. That was merely the prologue to a wild headiness and the highpoint of the evening: Ravel's Gaspard de la nuit. With grace, the French musician demonstrated her admirable talent in the three large fantasies, not only with her nervous, Impressionistic sound colours but also her powerful peaks, fortissimo, with virtuosity pushed to its extreme. Thus, the third fantasy in particular, turned into a bravura piece. Miraculously, at that moment, the lower high notes of the Steinway were no longer flashy. With similar musical latitude, Chopin's 24 Preludes were transformed into a pianistic cosmos. Three encores included a romantic impression by Paul Ben-Haim; born in Munich under the patronymic of Paul Frankenburger and a former assistant to Bruno Walter and Hans Knappertsbusch. " " " " " __________________________________________________________________________________________" Contact'':'' Hélène'Tysman''•''+33'1'41'93'71'76''•'[email protected]''•''[email protected]' 7 " ! LISZT Magazine by Jan Kreyßig
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