LA FOLLE JOURNEE DE VARSOVIE

Guillaume Chilemme commenced his study of the violin at the age of three and a half years and his study at the Conservatory in Toulouse in the class of Laurent Pellerin at the age of five. Two years later Chilemme joined the class of Gennadi Golfman, former member of the Moscow Soloists. In 2003 he received a unanimously awarded prize in the category of chamber music and violin. In 2005 Chilemme joined the class of Boris Garlinsky at the Conservatoire national supérieur de musique et de danse de Paris, at the same time attending chamber music classes with Pierre-Laurent Aimard. He has continued his education at the Musikhochschule Hanns Eisler in Berlin in the class of Stephan Picard. In 2008 Chilemme enrolled in the Seiji Ozawa International Academy in Switzerland. This has given him the opportunity to participate in master classes with Nobuko Imai, Pamela Frank, Sadao Harada, Robert Mann and Seiji Ozawa. He has received regular invitations to perform with ensembles playing at the La Roque d’Anthéron festival, as well as with the Music Academy in Lucerne. The violinist has received the Berthier scholarship and a scholarship of the Fondation de France. Guillaume Chilemme has also managed to win the hearts of the jury at the Henri Koch competition in Liège (Third Prize), playing a violin made in 1741 by Antonio Castagneri with a bow signed “École de Nicolas Maire”. He received first prize at the Swedish International Duo Competition with pianist Nathanaël Gouin in August of 2010. He also received the third prize and the Paris Conservatory students’ special prize at the International Marguerite Long-Jacques Thibaud competition in November 2010. Guillaume Chilemme is one of the most promising violinists of his generation.

PIERROT LUNAIRE

Thanks to its avant-garde character combined with a modern sound, Pierrot Lunaire has provided worldwide fame for Schönberg. In the 20^th century it has also inspired such works as Stravinsky’s The Rite of Spring and Boulez’ Le marteau sans maître (The Hammer Without a Master). The work achieved instant success. It has since been considered a masterpiece and Roland Manuel has thus expressed his admiration: “The incomparable colour of the music in Pierrot Lunaire, an expressive image of a nightmare unfolds before us, a rending cruelty which switches instantly from irony to sobs, from terror to tenderness, a source of exquisite beauty […].”

AC