Compétition > Jury

A panel of 7 jury is formed with renowned musicians. The jury has been invited by means of the artistic commitee.

Lyon International Chamber Music Competition is a member of the World Federation of International Music Competitions (WFIMC) from 2007.



Attila Falvay

Attila Falvay

violin
Hungary

  

Attila Falvay

Attila Falvay

violin
Hungary

Attila Falvay gained admission to the Liszt Academy at age 16, where he studied under Semyon Snitkovsky and graduated from the chamber music course taught by György Kurtág and András Mihály. He took second place at the Second Szigeti International Violin Competition in 1979 and first prize at the Hubay Competition the following year. In 1982, at the invitation of Dorothy Delay, he took part in a course and festival in Aspen, Colorado (USA). He also studied under Prof. József Sívó at Vienna’s University of Music and Performing Arts. He joined the Kodály Quartet in 1980. His work with the ensemble led to his being named an Artist of Merit in 1990 and receiving the Bartók–Pásztory Award in 1996. In addition to playing with the quartet, he also frequently performs as a soloist. He has performed with such famous conductors as Ken-Ichiro Kobayashi, Tamás Vásáry and Zoltán Kocsis. As a soloist, he has toured in Japan and various countries in Europe several times. From 1989 to 2005, he served as the principal concertmaster of the Hungarian Radio Symphony Orchestra. In 2005, he became the concertmaster of the Hungarian National Philharmonic Orchestra. Between 2006 and 2010 he taught violin and chamber music as a professor at the International Menuhin Music Academy (IMMA) in Blonay, Gstaad and Bern. He was appointed an adjunct professor in the Liszt Academy’s chamber music department in 2015 and made a DLA in 2021 (The metronome markings of the String Quartets of Ludwig van Beethoven and their playability). He is a member of the public body of the Hungarian Academy of Arts. On the occasion of Hungary’s national holiday on 15 March 2022, he was awarded the Kossuth Prize as a member of the Kodály String Quartet.

David Grimal

David Grimal

violin
France

  

David Grimal

David Grimal

violin
France

David Grimal is a musician who enjoys an international reputation for the originality of his musical career. In his tireless quest to reflect on the role of his art in society, he juxtaposes perspectives in order to make music differently by reinventing the sense of the collective.

As an internationally renowned soloist, he has been invited to perform under the direction of the leading conductors (Christoph Eschenbach, Heinrich Schiff, Lawrence Foster, Emmanuel Krivine, Mikhail Pletnev, Rafael Frühbeck de Burgos, Peter Eötvös, Andris Nelsons, Jukka- Pekka Saraste, Christian Arming, Andrés Orozco-Estrada, Stanisław Skrowaczewski, Michel Plasson, Hubert Soudant, François-Xavier Roth, Pascal Rophé, Gerard Korsten, James Judd, Matthias Bamert, Lawrence Foster, Jaap van Sweden etc.) with such formations as the Orchestre de Paris, the Orchestre Philharmonique de Radio France, the Chamber Orchestra of Europe, the Berliner Symphoniker, the Russian National Orchestra, the New Japan Philharmonic, the English Chamber Orchestra, the Mozarteum Orchester Salzburg, the Jerusalem Symphony, the Prague Philharmonia, the Gulbenkian Orchestra Lisbon, Sinfonia Varsovia, the Florida Philharmonic and the Hungarian Radio Symphony Orchestra…

He is a welcome guest in the world’s foremost concert halls, among them Suntory Hall in Tokyo, the Philharmonie de Paris, the Vienna Musikverein, the Amsterdam Concertgebouw, the Berlin Konzerthaus, Wigmore Hall in London, the Zurich Tonhalle, Lincoln Center in New York, the Tchaikovsky Conservatory in Moscow, the Ferenc Liszt Academy in Budapest, the Victoria Hall in Geneva, the Auditorio Nacional in Madrid, the Théâtre des Champs-Élysées in Paris, the National Concert Hall in Taiwan and Bozar in Brussels.

Many composers have dedicated works to him, including Marc-André Dalbavie, Brice Pauset, Thierry Escaich, Lisa Lim, Jean-François Zygel, Alexandre Gasparov, Victor Kissine, Fuminori Tanada, Ivan Fedele, Philippe Hersant, Anders Hillborg, Oscar Bianchi, Guillaume Connesson, Frédéric Verrières, Richard Dubugnon, Eric Montalbetti …

An indefatigable researcher, he re-examines the early music repertory and in particular explores historically informed performance practice with such musicians as Andreas Staier, Brice Pauset, Mathieu Dupouy and Maude Gratton. He is a sought-after pedagogue, and currently teaches at the Hochschule für Musik in Saarbrücken, where he also develops conductorless projects with the student orchestra. He plays the 1710 “Ex-Roederer” Stradivarius with bows by Pierre Tourte, Léonard and François-Xavier Tourte and Pierre Grunberger.

David Grimal is regularly invited to sit on the juries of international competitions and gives masterclasses all over the world.

Louise Hopkins

Louise Hopkins

cello
United-Kingdom

  

Louise Hopkins

Louise Hopkins

cello
United-Kingdom

Louise Hopkins studied at the Guildhall School of Music & Drama with Raphael Wallfisch and Steven Isserlis. From a very early age she attended the International Musicians' Seminars at Prussia Cove studying intensively with András Schiff for duo class and György Kurtág for Chamber Music alongside the cello masterclasses with Steven Isserlis and Ralph Kirshbaum.

Louise made her debut at the Barbican Hall playing Witold Lutosławski’s Cello Concerto (conducted by the composer) on which The Times commented that ‘players with such personality, agility and power are rare'. At this time she won a number of young artist awards resulting in numerous recitals throughout the UK. Louise also won the Frank Britton Award which resulted in her Wigmore debut aged 19, quickly followed for several years in succession with concerts at the Wigmore supported by the Tillet and Kirkman Trusts. She has continued to perform as a soloist and chamber musician and has developed an international career which has taken her all over Europe, USA, Australia,New Zealand and Japan.

A frequent participant at major festivals Louise has regularly visited Aldeburgh where she has performed chamber music and solo concerts including Britten’s Cello Symphony for a BBC Symphony Orchestra live broadcast conducted by Leonard Slatkin 37 years to the day of the first performance of the work at Snape Maltings. Other festivals include Cheltenham, Bath, Brighton, Harrogate, the Vertavo Quartet’s festival at Elverum in Norway, Dijon, the Belgrade Cello Festival, Amsterdam Cello Biennale 2010 and 2014, the Irish Chamber Orchestra's summer festival where she performed Tavener's The Protecting Veil and Trondheim International Chamber Music Festival 2013.

Louise has attended Open Chamber Music at Prussia Cove for over 20 years and participated in the 2008 tour culminating at the Wigmore Hall. She has broadcast frequently on the BBC, RTE, WFMT, Swiss Romande, ABC, New Zealand Radio and Radio France to name but a few. The London Sinfonietta released her BBC recording of Dai Fujikura’s Fifth Station for Cello and Orchestra (conducted by Martyn Brabbins) taken from a live performance at the Queen Elizabeth Hall as part of the 2006 Jerwood Foundation series which was reviewed by The Times as "brilliantly played".

As a chamber musician Louise has performed in venues from the Wigmore Hall to the Sydney Opera House. She has frequently appeared as a guest with the Takács Quartet and Thomas Adès with whom she has recorded his piano quartet Catch for EMI. She has been invited by Emmanuel Pahud to perform at the Wigmore and at his festival in Salon de Provence and also performed at Australia’s Chamber Music Festival from 2009-2011. She will return for their 25th anniversary in 2015. She performs regularly with the pianist Aleksandar Madžar with whom she has recorded sonatas by Schnittke, Carter and Rachmaninoff for a CD for Intim Musik. Other collaborations have included those with András Keller, Anthony Marwood, Alexander Janiczek, Ferenc Rados, Dénes Várjon, Kathryn Stott, Alexander Melnikov, Piers Lane, Tamara Stefanovich, François Leleux and Steven Kovacevich.

At the age of 25 Louise was one of the youngest ever professors to be appointed to the Guildhall School of Music & Drama, and was appointed Head of Strings in 2011. Before that she also taught at the Yehudi Menuhin School until 2006. She has given masterclasses in France, Germany, Austria, Switzerland, Serbia, The Netherlands, Singapore, and throughout the UK. In September 2007 Louise began as a Cello Professor at the Hochschule in Bern, Switzerland. She has been a jury member on a number of international competitions including the Banff and Trondheim String Quartet competitions.

Mari Kodama

Mari Kodama

piano
Japan

  

Mari Kodama

Mari Kodama

piano
Japan

Mari Kodama is consistently praised for her virtuosity in a wide range of repertoire, including orchestral, chamber and solo works by composers of all periods. She is also known for her natural musicality, tonal expressiveness with a clear form, and as a benchmark Beethoven interpreter.

In the past season, Mari Kodama showcased her diverse talents with various international concert appearances, such as the Tokyo Symphony Orchestra under Krzysztof Urbański performing Beethoven’s second piano concerto, Colorado Springs Philharmonic with three Beethoven concerti under Josep Cabellé Domenech as well as performing Beethoven’s Concerto No. 0 in Germany. Other Highlights of the season include a concert with the Philharmonic State Orchestra Hamburg conducted by Kent Nagano with pianists Paul Lewis and Till Fellner in honor of their teacher Alfred Brendel, and the world premiere of Rodolphe Bruneau-Boulmier’s new piano concerto Terra Nostra broadcast on Deutschlandfunk with the Deutsches Symphonie-Orchester Berlin under the direction of Kent Nagano at the Berliner Philharmonie, the performances of Beethoven Project II with the ballet John Neumeier at the Hamburg State Opera, and the Beethoven Festival “a life in a Day” in San Francisco, which she organized, presenting all 32 of Beethoven’s piano sonatas over two days by 14 different soloists.

Beethoven’s piano works form a focal point of Mari Kodama’s recording activities, and her interpretations have become standard-setting. She is one of few female pianists to record the composer’s complete sonatas. Her 2014 boxed set release (Pentatone) of these pieces received critical acclaim. In fall 2019 she released Beethoven’s Piano Concerto No. 0 WoO 4, which together with his Rondo for piano and orchestra WoO 6 and his “Eroica” Variations for piano solo op. 35 complement the Beethoven CD – Box with all of Beethoven’s piano concertos as well as the Triple Concerto together with the Deutsches Symphonie-Orchester Berlin and Kent Nagano (Berlin Classics).

Mari Kodama has been working with Pentatone for many years. Her latest CD release on the label is the Duo CD MON AMI, Mon amour – French Repertoire for Cello and Piano with Matt Haimovitz and works by Francis Poulenc, Gabriel Fauré, Maurice Ravel, Claude Debussy, and Darius Milhaudso. In Spring 2020 Pentatone released Kaleidoscope: Beethoven Transcriptions, consisting of Beethoven string quartets transcribed for piano by Saint-Saëns, Mussorgsky and Balakirev, as well as Beethoven’s variations on the finale of Mozart’s Clarinet Quintet. Previous releases show her broad repertoire, such as the CD with Martinůs Concert for two pianos and orchestra, together with Momo Kodama and the Orchestre Philharmonique de Marseille under Lawrence Foster, released in 2018. In 2016 Mari Kodama published arrangements for two pianos of Tchaikovsky’s popular ballets The Nutcracker (Arr. Anton Arenski – first recording), Sleeping Beauty (Arr. Sergei Rachmaninov) and Swan Lake (Arr. Eduard Leontyevich Langer, Claude Debussy) with Momo Kodama. Mari Kodama’s discography also includes piano concertos by Chopin and Loewe with the Russian National Orchestra (Pentatone) and Prokofiev’s piano concertos No. 1 and 3 as well as his piano sonata No. 7 with the Philharmonia Orchestra (ASV).

Since her New York recital debut at Carnegie Hall in 1995, Mari Kodama has performed with renowned orchestras and conductors in the world’s leading concert halls. She has played with the Gothenburg Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Bamberg Symphony Orchestra, SWR Symphony Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, Detroit Symphony Orchestra or Orchestre symphonique de Montréal. In her native Japan, she has played with the NHK Symphony Orchestra in Tokyo and the symphony orchestras of Kyoto, Hiroshima, and Osaka, among others. Mari Kodama’s festival appearances include the Verbier Festival, the Festival International de Piano La Roque d’Antheron, the Aldeburgh Festival of Music, Mostly Mozart in New York City, the Schleswig-Holstein Music Festival and Kissinger Sommer.

Through her performing activities, Mari Kodama has brought infrequently heard gems of the piano repertoire to global audiences. She has performed Stenhammer’s Piano Concerto No. 2 in Gothenburg and New York and has also collaborated with Viviane Hagner on Alban Berg’s Chamber Concerto for Piano and Violin, which they performed with both the Jyväskylä Sinfonia and the DSO Berlin. Additionally, in 2013 Mari Kodama premiered Jean-Pascal Beinthus’ Double Piano Concerto together with Momo Kodama and the Orchestre Philharmonique de Monte Carlo. Mari Kodama also performed in the Canada premieres of Jörg Widmann’s Valse Bavaroise and Humoresken, both at the Canadian Orford Festival in summer 2010.

In addition to her performances, Mari Kodama also plays an active role as a music festival artistic director. She co-founded the Forest Hill Musical Days festival, a chamber music festival in San Francisco, with her husband Kent Nagano, and she has also led the chamber music series at the Orford Music Festival. In 2018 she assumed artistic directorship at the festival Tra Luce e Sogno in Postignano, Italy, for which she won artists such as Christian Gerhaher, Matt Haimowitz and Gerold Huber, among others.

The past seasons saw Mari Kodama achieve critical praise for her worldwide performances. Highlights included Beethoven’s Piano Concerto No. 2 with the Gothenburg Symphony Orchestra conducted by Santtu-Matias Rouvali, Schoenberg’s Piano Concerto with the SWR Symphony Orchestra and Kent Nagano in Stuttgart and Freiburg; duo concerts with Momo Kodama in Paris, Japan, Hungary and Germany with works by Mozart, Adams, Eötvös, Stravinsky, Ravel, Debussy, Bizet and Tchaikovsky; as well as a recital with Vadim Repin at Montreal’s Viree Classique Festival.

Mari Kodama was born in Osaka and raised in Germany and Paris. At the Conservatoire National in Paris, she studied piano with Germaine Mounier and chamber music with Genevieve Joy-Dutilleux. She has also worked with Tatiana Nikolaeva and Alfred Brendel. Mari Kodama was appointed as a Steinway Artist.

Vincent Coq

Vincent Coq

piano
France

  

Vincent Coq

Vincent Coq

piano
France

Vincent Coq started studying the piano at age 7. Admitted to Conservatoire National Supérieur de Musique de Paris at age 18, he won a piano First Prize in 1985, then pursued graduate studies under the guidance of Dominique Merlet.
After winning a First Prize in chamber music in 1984 in Geneviève Joy-Dutilleux’s class, he joined Jean-Claude Pennetier’s class to perfect his chamber music skills.
Vincent Coq then joined master classes taught by Nikita Malagoff, György Sandor and Leon Fleisher. In 1989, he worked under the direction of György Sebök at the Bloomington School of Music (USA).
As the same time as his career with the Trio Wanderer, Vincent Coq plays with many other musicians as Sophie Koch, Gérard Caussé, Antoine Tamestit, Susan Cairns, Wolfgang Holzmair, Karen Vourc’h, François Leleux, Anne Gastinel… He gives also concerts of melodrama’s repertoire with the actor Eric Genovese,Sociétaire de la Comédie Française.
Vincent Coq is Professor of chamber music at the Lausanne’s Haute Ecole de Musique. Vincent Coq has opened with his Trio Wanderer’s colleagues, a piano trio class at the Paris’ CRR which prepares ensembles for concerts and international competition.
Virtuose pianist Vincent Coq performs impeccably weaving a rich tapestry of whose notes whose velvet schimmer sets off the playing of the strings. One seems to be hearing Menahem Pressler when the Beaux-Arts Trio was in its prime.” (Le Devoir – Montreal)

 

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