- 23
- Dec.
- 2024
As part of the Beirut Chants festival, the Saint-Elie Church in Kantari offered, on Sunday, December 22, a moment of solace amid the turmoil. The French pianist Théo Fouchenneret, winner of the Geneva Competition, revealed the full extent of his technique while infusing moments of pure expressive clarity into a repertoire with romantic accents. This concert allowed the audience to experience a cathartic musical journey, like a healing balm soothing the wounds of Beirut, the immortal beloved.
On Sunday, December 22, nature wept over Beirut. On the way to Saint-Elie Church in Kantari, our thoughts wandered through the ruins of the capital, those gaping wounds that will bleed and ooze the horrors of war for years to come. Alas. That evening, a fine rain caressed these scars, soft and soothing, like saving kisses from angels during this time of Nativity, offering Beirut, the immortal beloved, a new baptism filled with hope. Fragile, certainly, but nonetheless comforting. By 7 PM, the church was more or less full. The Beirut Chants festival welcomed an exceptional talent, Théo Fouchenneret, the young pianist and winner of the first prize at the Geneva International Competition in 2018. Eyes turned toward the altar, filled with deep anticipation, reflected a thirst for beauty and wonder in these troubled times. "At last, cultural life is finding its breath again," murmured one person, with enthusiasm born from the long silence imposed by war. Whispers suddenly ceased, giving way to Micheline Abi Samra, founder of the Beirut Chants festival, followed by Sandra De Waele, the EU Ambassador to Lebanon, who emphasized the cathartic power of music, renewing her support for the arts and culture in the land of the Cedars.
Revolutionary Drive
The concert opened with Beethoven's Piano Sonata No. 21 in C major, Op. 53, known as the “"Waldstein.” From the first notes, one was struck by the sound of a piano that, while not out of tune, certainly could have benefited from better tuning. A more carefully maintained instrument, or even one better suited for such a grand concert, would likely have done justice to the grandeur of the five works presented that evening. With the “Waldstein,” Beethoven ventures into unexplored sonic territories, using a writing style that, even before the Hammerklavier sonatas, implicitly suggests a “new piano,” according to Bernard Fournier, a renowned European expert on Beethoven's work. This is precisely what André Boucourechliev describes as a “modern sonic universe” in his 1963 book Beethoven, published in the "Solfèges" collection of Éditions du Seuil.
Fouchenneret approached this masterpiece with humble eloquence, light articulation, and a particularly interesting balance between his hands. However, the revolutionary drive inherent in this piece, with its discursive and expressive breaks, as well as sudden shifts in dynamics, colors, and mood, struggled to fully express itself under his fingers, especially in the first movement, Allegro con brio. The poetic contrast, central to both the work and Beethoven’s spirit, remained subdued in favor of a more contained approach. However, in the other two movements, the Introduzione and Rondo, the pianist showed more assertive energy, enhanced by a judicious use of the pedal, revealing the full sonic richness of the piece. Noteworthy is his impeccable mastery of trills, both in the Allegretto moderato and the final Prestissimo.
Tears of Satisfaction
When Fouchenneret approached Chopin's Ballade No. 4 in F minor, Op. 52, a great masterpiece of the pianistic repertoire and 19th-century romantic music, one straightened up in their seat. At no point did attention waver, as the French pianist’s performance demanded total concentration. A true sound craftsman, Fouchenneret engaged in a music experiment that bordered on improvisation, bringing out deep inner reflection far removed from the well-trodden paths of mere technical execution. His ability to narrate, describe, and dream carried the listener through a back-and-forth between consciousness and unconsciousness. When he sculpted his introspective melodies, one felt suspended in his fingers. But he also knew how to make the instrument roar, especially during musical explosions, while leaving room for silences and breaths, unveiling the full expressive richness of the work. That evening, one would have willingly abandoned the score, as the interpretation alone carried the soul to a state of grace that, beyond the applause, would deserve tears of satisfaction.
Soothing Calm
After a brief intermission, allowing both the audience and the pianist to collect themselves, Fouchenneret returned to the stage with two nocturnes by Gabriel Fauré (1845-1924): Nocturne No. 4 in E-flat major, Op. 36, and Nocturne No. 6 in D-flat major, Op. 63. This refined and symbolic choice subtly marked a nod to the centenary of the French composer’s passing. The performance was delicate and full of nuances, offering a soothing calm after the musical storm of the first half of the concert. While certain passages, undeniably virtuosic, testified to the pianist’s technical mastery, particularly in Op. 63, the overall performance unfolded in a fluidity that evoked Fauré’s intimate poetry.
The Fantaisie, Op. 17, by Robert Schumann (1810-1856), lasting around thirty minutes, magnificently crowned a recital already rich in color, performed by a pianist who, with keen sensitivity, attuned himself to the score. Fouchenneret’s interpretation provoked. With a flowing melodic line and a supple rhythm, he combined virtuosity with (above all) sensitivity. He reminded those willing to listen that music, far from being merely an intellectual construct, is primarily lived as a sensory experience. This, unfortunately, is the stumbling block for many contemporary composers, particularly those of atonal music. By prioritizing the intellectual and theoretical aspects of composition, these artists often neglect the emotional core of music, which should, in fact, be at the heart of the musical experience. Their intellectual approach, too abstract and disconnected from emotion, creates a gap between composition and audience, making it less accessible, less “alive.” But that is not the subject of this article.
While a few moments of slight deviation peppered Fouchenneret's journey, one can only applaud his extraordinary technical mastery, particularly in the coda of the second movement, Mässig, durchaus energisch (Moderately, still energetic), where his pianistic virtuosity reached its highest peaks, not forgetting the meditative poetry of the final movement, Langsam getragen (Slowly sustained). A victory richly deserved. One could expect no less from a laureate of the Geneva Competition, which, over the years, has distinguished the greatest pianists on the musical scene, including Martha Argerich and Dominique Merlet (competing against Maurizio Pollini) in 1957.
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