Exploring the inner song
Influenced by the ultra-cosmopolitan city of Brussels, where she learned her craft, Blandine Waldmann is instinctively attuned to dense, powerful repertoires where the piano takes on the guise of an orchestra. This French pianist draws deeply from a rich, complex, harmonic dimension, so she can truly express the inner song, which she does beautifully for Scriabin, whom she has just recorded along with Brahms and Mussorgsky, or Liszt, Beethoven Franck, Debussy or Ravel.
When she was younger, Blandine Waldmann played the violin and piano, but her heart soon fell for the latter: through it, she discovered a world that matched her desire to explore the crisscrossed paths of polyphony and incredible open spaces between the notes. Just like a tremendous symphony – the same forces still drive her today. The violin was to influence her lyrical approach to phrasing, that legato that she worked so hard on under Alexandre Mazdar at the Flemish Royal Conservatory in Brussels – a true platform for exchange with musicians of all nationalities.
AN OUTWARD LOOKING EDUCATION
The young pianist has also enriched her training, taking on different points of view at master classes, particularly in Italy, and through musicians she admires: Maria Callas or Menahem Pressler, “who know how to truly give themselves up to the audience, you can almost feel their souls.” Martha Argerich for the fluidity and drive she gives to the phrase, Wilhelm Kempff for the great depth of his interpretations, and Boris Berezovsky for the incredible energy he creates.
LISZT AND SCRIABIN: COMPOSERS THAT STRIKE A CHORD
A VIRTUOSO, INTIMATE ALBUM
After releasing a first contemporary music album, her second one is out this autumn with record label Dux. It brings together the ninth sonata by the Russian composer with three virtuoso, intimate works by Brahms – The Paganini variations II, the opus 117, Capriccio from the opus 116 – and Pictures at an Exhibition by Mussorgsky, in the composer’s original version with “occasional archaic and crude sounds.” Among her projects is also a desire to expand her repertoire of chamber music, notably as part of a quintet, and to record Liszt, and Scriabin once again.