As an eclectic pianist, my musical interests encompass a variety of approaches, styles, and periods of both repertoire and keyboard instruments. I started my musical education with the piano and later specialized in fortepiano performance practice and keyboards from the 18th- and early 19th centuries. In conjunction with my ‘’classical’’ education, I have enjoyed developing my own musical ideas with improvisation, jazz and the research of my own language.

I built up my pianistic basis with François-Michel Rignol at the Conservatory of my home town Perpignan in the south of France. In addition to opening my artistic horizons bringing me a large musical panorama, this institution offered me my first significant musical experiences. I subsequently left for Paris to study with Françoise Thinat at the École Normale. Two years later I entered the class of Denis Pascal at the Conservatory in Rueil-Malmaison next to Paris, a definitive experience in the course of my pianistic development.

I then choose to leave France in order to explore other cultures and approaches. This led to studies at the Utrecht Conservatory in the Netherlands with Paolo Giacometti and, through an Erasmus exchange, at the Liszt Academy in Budapest with Professor Lantos.

Upon completing my Master of Piano at the Utrecht Conservatory, I developed an interest in the sonic richness of keyboards from the 18th- and early 19th centuries, the period that witnessed the birth and subsequent development of the piano. I elected to explore fortepiano performance practice at the Royal Conservatory of the Hague with Bart van Oort.

Concurrently I participated regularly in professional development courses through the Royaumont Foundation. These experiences would determine the course of my ensuing musical projects. Thanks to musicologist Hervé Audéon and Pierre Goy, I became acquainted with forgotten french repertoire from the Classical era as well as with the manufacturing history of the french fortepiano. These subjects would form the foundation of the artistic research component of my second master's degree in The Hague Conservatory. In 2012 I completed my thesis "Sonatas with trio accompaniment (violin, violoncello) in France between the Revolution and the end of the First Empire."  My work on French music from this period was honored with the first prize in music from the Royaumont Foundation and the Swiss Embassy in France in 2013.  

Bringing the public to discover and listen to lesser-known composers like, among others, the Jadin's Brothers, George Onslow, Daniel Steibelt, Hélène de Montgeroult, Marie Bigot, Ignaze Ladurner and this forgotten French classical repertoire is my main goal now.

Other side of my artistical journey with

The discovery of improvisation and improvised music at age 15, when I entered the jazz department at the Conservatory in Perpignan, was a decisive moment in the course of my musical and pianistic development. Freedom, experimentation, creation, and interaction with musical material allowed me to approach music from another angle that complemented my direction up to that point, namely notation-based practice.

I continue to explore this complementary approach, which has significantly enriched my interpretation by providing a more direct and vital connection with the musical language.

Serge Lazarevich and Philippe Léoger guided me in this pursuit. Working with Fabrizio Cassol and Magic Malik at the Royaumont Abbey in the “Transcultural projects“ greatly inspired me and gives me keys to open new doors. These experiences and collaborations have confirmed my desire to create exchanges between cultures, styles, and different musical approaches in order to forge a music enriched through these diverse influences.




© 2016 by Lucie de Saint Vincent all rights reserved

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