Unbridled dances, mad rhythms
With an inventive pianism and a luminous style magnifying the clarity of the themes and the rigorous writing of the French master, Guillaume Vincent colors with infinite nuances this uninterrupted cascade of sound seduction, splashing with a devastating charm his rich dialogue with the National Orchestra Capitole de Toulouse in great form, led by the whip by the surprising Marcelo Lehninger. And it is with the same charm that he rejoices us again, by way of encore, with a Dream of Love by Franz Liszt.
Jean-Félix Marquette, June 13, 2018
Marcelo Lehninger and Guillaume Vincent, the guests of the ONCT
On May 26, Guillaume Vincent is the soloist of concerto No. 2 of Saint-Saëns. Obviously, the digital flamboyance of Guillaume Vincent is at the height of this score. From the first notes of the original cadence that opens the Andante sostenuto, the touch of the pianist shines with its clarity, its transparency, the mobility of its features, formidable to ensure in this solitary and yet inflamed introduction. The orchestra punctuates this spectacular entrance with authority. The dialogue established in this first section highlights a writing whose virtuosity is not unlike that developed by the great predecessors of the French composer, Frédéric Chopin and Franz Liszt. Guillaume Vincent, demonstrative gesture, invests his whole body in this voluntary approach that knows how to match beautiful dynamic nuances. More relaxed, the Allegro scherzando that follows highlights the fluidity, a certain lightness of the game of the soloist. The swinging of the second theme opposes for a moment this lightness and establishes an ironic contrast. The final movement, Presto, opens a frantic race, on a rhythm of tarantella, between the piano and the orchestra that compete brilliantly. The central episode calms for a moment the initial effervescence. His return leads to a dazzling coda in which the touch of the soloist seems to fly over the keyboard.
The encore claimed by the public brings a little calm after the agitation that dominates the concerto. In Franz Liszt’s Dream of Love, warm lyricism find again a place with the tenderness that the pianist knows how to recall.
Serge Chauzy, Toulouse May 27, 2018
Guillaume Vincent at the Goethe Institut de Paris
It was the turn of the young French pianist Guillaume Vincent to propose a concert on the theme of nature, the red thread of the season. He had chosen a resolutely romantic program with Brahms’ four ballads opus 10 followed by excerpts from Liszt’s first year of pilgrimage, Switzerland: what could be more natural for this native of Savoy than the framework of the Swiss alpine pastures!
Works of youth composed in the thought of Clara Schumann, secret dedication, the ballads, posterior nevertheless to his sonatas, do not bear less already the label of the composer: all Brahms is there. Guillaume Vincent gives an inspired interpretation of it, and draws from grand piano Blüthner with such a special timbre all that he is able to offer, finding in the breaths, listening to the silences, the required tone depth and width, the concentration of the sound, especially in the first, so dark, inspired as we know from a frightful Scottish legend. Without forcing the instrument, the bass lacking roundness, he lets the song bloom in soft curves in the second, under the wind arpeggios of his right hand. The third ballad in B minor begins breathless: the pianist perfectly recreates his fantastic atmosphere, which he dissolves his appearances, these vague bells and this strange cuckoo heard in the central part, in the chords of the end. The climate clears up a bit in the fourth in B major, which begins as a
waltz. Guillaume Vincent knows how to vary the lighting: he gives to his melodic line, long and beautiful, very Schumannian, a wind of freshness, a feeling of spring, weaves a cloud on the palpitation of the following passage, then lets furtively pierce the light of the melody that freezes making way for the fervor of the final chorale.
We leave the northern landscapes for the most beautiful Swiss valleys, with Liszt and his first year of pilgrimage. The pianist gives to Guillaume Tell’s Chapel the majesty and declamation befitting his hymn, as a prelude to Lake Wallendstadt, played with great delicacy: his serene and simple song unfolds like in the light of a rising day , on the wave of a left hand of a beautiful fluidity. The poetic reverie continues with Les Cloches de Genève, in the softness of touch and a generosity of play making the central episode, climax of the play, a moment of pure exaltation. The Obermann Valley is the fourth and last piece given in mirror to Brahmsian ballads. Guillaume Vincent strives to find the sound support and legato bass of this piano whose bass are difficult to tame. He remains in the concentration of the expression, in the lyrical tension until the surges of octaves particularly impressive under his fingers, and manages to extract from the instrument incandescent or warm colors according to the passages, the registers, showing ‘a flawless technique.
To the bravos that fuse he offers a Humoresque Dvorák very finely trussed, then the famous Liebestraum n ° 3 of Liszt, to a public touched to the heart.
By Jany Campello, classicagenda | March 5, 2018
Orchestre d’Auvergne. The audience was enthusiastic last night at the Opera of Clermont, after the last concert of the Orchestra of Chamber Music season Auvergne … This concert designed as a dialogue between the piano and the strings was romantic and balanced. With the Mendelssohn Trio for Piano, Violin and Cello No. 1 in D minor Opus 49, Harumi Ventalon on violin and Jean -Marie Trotereau cello began with a first romantic movement and concluded with a hymn, after developing parts more rhythmic . In the second part, Maud Lovett el Khoury and Chenille Aurélie, violins, Isabelle Hernáiz, viola and cello Takashi Kondo have played opposite Guillaume Vincent on a César Franck Quintet for Piano and Strings in F minor. A piece in a cyclic structure. Pierre Corneille, told Rodrigue in Le Cid :”I ‘m young , it is true ; but for souls nobly born , valor does not expect the number of years.” Guillaume Vincent , 24, has again proved last night.
La Montagne, may 19th 2016
… A beautiful classical music concert combining in part four young musicians steeped in talent and in a second part more than confirmed pianist, who was also here , there is a decade marked the spirits from the top of its 13 years, the exceptional Guillaume Vincent. Numerous public did not make a mistake there.
P J-L, Le Dauphiné libéré, March 8th 2016 – Concert organized by the Lions Club Annecy Doyen ,Bonlieu Scène Nationale, in the twinning Annecy- Bayreuth
The charts of chamber music of the early nineteenth century, Johann Nepomuk Hummel Septet was located in the most popular and well-known works of the era.
Hummel , founder of the German school of piano , himself famous pianist , gives a crucial and difficult role to his favorite instrument to this classic masterpiece, and that’s Guillaume Vincent who will give a magnificent performance of emotion and accuracy , real conductor for six instrumentalists . Winds, strings and piano blend beautifully , and the public will rise at the end of the concert to salute the performance . A choice of brilliant programming for this totally successful evening .
Ouest-France, August 6, 2015 – Deauville
Musical August at Deauville. Till Eulenspiegel conquered the public
The hall was packed last night , tuesday, concert day music festival in August at Deauville. Epic, dramatic, powerful.
After the interval necessary recovery with amazing piece for piano and wind instruments by Richard Strauss, The Ouranos Ensemble is accompanied by pianist Guillaume Vincent, who , alone , will play the role of the orchestra. This is a huge keyboard performance and a true piece of musical theater, where each instrument plays a role , telling the story of mischievous imp Till Eulenspiegel . A standing public , demanding an encore, the young musicians will pay despite having already given so much .
Deauville – August 5 Ouest- France
Lille Piano (s ) Festival , for the greater glory of the keyboard
A beautiful reading of Liszt Second Concerto by Guillaume Vincent talented …
The June 18, 2015 , by Jean-Claude Hulot, ResMusica
We saw in Deauville. Clap for the end of the nineteenth Easter Festival
A second monumental part for closing the trio for violin , cello and piano Tchaikovsky , three exceptional musicians , Alexandra Soumm , Salque François and Guillaume Vincent, forty minutes of extreme intensity , an almost symphonic finale. The public standing reserve a huge ovation to the artists obviously happy with their performance on a huge piece as difficult .
Congratulations and go for Musical August on 25 July.
Deauville – May 3, 2015 Ouest-France
It is 10.40 pm, on August 9th, and the audience are leaving the Elie de Brignac Concert Hall after the last recital of this beautiful 13th edition of Août Musical.
“So wonderfull!” was the most commonly heard comment, or “I wish it had lasted longer!” or “Eight long months before the Easter Festival! Everybody is talking, the public have come in large numbers tonight, many did not attend the other concerts.
As soon as the concert starts, the audience are overwhelmed by emotions as Bruno Philippe (cello) and Guillaume Vincent (piano) play one of Robert Schuman’s Phantasy . Then Guillaume stays alone on stage, with Frederic Chopin. He plays two scherzos, then some preludes. The pianist radiates such energy, such élan, his body makes one with the keyboard, there is no holding back and the audience, astounded by the notes racing at the speed of a thoroughbred, holds their breaths. They stand, clap their hands and shout “Bravo!” There are many encores, so Guillaume plays pieces by Liszt and Rachmaninov. When he leaves the stage, he is visibly moved and ….we need the welcome interval to recuperate.
This soloist leaves no-one indifferent, comments such as “so much spirit!”, “what dynamism!”, “how formidable!” prove it beyond doubt.
Ouest France, August 2014.
The Théâtre du Nord has also given us the opportunity to listen again to Guillaume Vincent in a programme combining the sonata Les quatre âges by Alkan and Rachmaninov’s preludes. The French pianist-composer’s 200th anniversary has allowed the re-examination of an artist whose virtuosity has often been misunderstood. Vincent is quite at ease with Opus 33: he overcomes all its technical difficulties and his rendering of it is as deep as it is differentiated, from youth’s passion to old age Prometheus Bound. One could not possibly resist the Russian’s Preludes op 32 (from No. 9 to 13) either, whose beauty the young pianist emphasises with as much gracious humility as imaginative sonority.
Tenth Lille Piano(s) Festival, Alain Cochard, ConcertClassic.com, , June 2013
Guillaume Vincent’s triumph
On Sunday, late in the afternoon, the three recalls and resounding applause were proof enough that Guillaume Vincent had won the hearts of his listeners from the front row to the last in St Laurent Church. Of course, he was playing at home in Annecy, where he was born in 1991; still he held his audience under his spell until the end of his demanding programme composed of Liszt’s ballads and Rachmaninov’s preludes.
Le Dauphiné Libéré, Les Musicales Fauré, 12/06/2013
Renaud Capuçon (violin) Adrien La Marca (alto) Edgar Moreau (cello) and Guillaume Vincent have won with flying colours the prize for best chamber musicians with Brahm’s No3 quartet for strings and piano. Fa-bu-lous!
Revue Musica, June 13th 2013 (Deauville, 11/05)
Rachmaninov’s celebrated dictum – “I try to make [my music] say simply and directly that which is in my heart”- is perfectly exemplified in Guillaume Vincent’s playing, where virtuosity is never allowed to trump expressiveness. His is a cool artistry, sensitive to uncovering the poetry and capable of presenting the over-familiar in a completely new light. Rachmanivnov himself grew sick of the C sharp minor Prelude, but he might have loved the subtle terracing of sound it receives here, and he might have been delighted with much else too. Vincent’s weighting and voicing of his chords is fastidiously refined, he brilliantly treats the fast pieces without a trace of hurry, and the lyrical pieces are rendered with lovely delicacy.
Michael Church, BBC Music Magazine, April 2013
They have just turned 20 but they are establishing themselves as truly talented musicians. In their demanding programme at the Louvre Auditorium, cellist Yan Levionnois and pianist Guillaume Vincent were perfect representatives of their already accomplished and highly gifted generation.
The two performers do possess the qualities of musicians that we long to listen to and they will mightily play their parts in the music world for many years to come.
Gérard Mannoni, Auditorium du Louvre, le 6/12/2012
Young Prodigy given standing ovation by enraptured Ecuadorian audience .
Supported by the Alliance Française Foundation and the Long-Thibaut Contest, he gave two special recitals on October 6th at the Casa de la Musica in Quito and on October 7th at the Teatro del Banco in Cuenca.
From Beethoven to Brahms to Liszt Guillaume Vincent has selected an atypical repertoire that is difficult to play, thus turning his recital into a real tour de force. His deep concentration, his highly sensitive interpretation and his ability to fully live the music he offers are all assets that have enthralled his Ecuadorian audience. Ecuador unanimously praises Guillaume Vincent.
Quito, October 6th and 7th 2012
At the Festival Liszt en Provence, Guillaume Vincent was exceptional.
From the very first chords of Beethoven’s Sonata 27, the performer’s determination and his limpid touch carried his audience away into the romantic world of the work and its subtle nuances.
Liszt’s Ballad N° 2 in B minor follows, it is a frantic work, the musician and the instrument engage in a real joust. Guillaume Vincent demonstrates an awesome virtuosity, yet without forfeiting deep sensitivity, which we will encounter again in the second part of the concert, in Brahm’s Klavier opus 118: what a magic moment! The artist seems to have fathomed deep into the spirit of opus 118, its whispering voices and subtle poetic effects beautifully rendered by the extraordinary piano. Then back to Liszt, with the Hungarian Rhapsody No 1 in EMajor to end this wonderful evening. With brilliantly lively brio Guillaume Vincent overcomes the trickiest traps: he brings this rhapsody various shades of light and demonstrates his perfect pianistic mastery. The way he plays, one feels how self-assured and mature he already is.
Dany Baychère, La MarseillaiseAugust 7th 2012
Quintet for strings and piano No2H 298 by Bohuslav Martinu. The score was completed by the Czech composer in the U.S.A. in 1944. Almost half an hour of an incredibly dense music, which the young performers explore with contagious jubilation. The difficult piano part is magisterially played by Guillaume Vincent: he is ever-present, while never intrusive, and he offers his four partners ( A. Coeytaux, A. Soumm, Adrien Boisseau et Bruno Philippe, the cellist, is one of the new and excellent recruits of the Festival!) “the spinal column” around which they create an irresistible interpretation that is both intricately detailed and exuberantly poetic .
Alain Cochard, musique classique.com (April 17th 2012 – 16ème Festival de Pâques de Deauville)
Like a Great Master
The young French pianist made his debut with a symphonic orchestra at the Sendesaal in Dombush.
For the start of the Ravel Year Guillaume Vincent played Ravel’s Concerto for Piano with spirited rhythm. He is only twenty; yet, just like a great master, he is already quite self-confident and he triumphed over this technically difficult work. The soloist was at his best in the first phrase when he was at one with the symphonic orchestra. Let us hope it will not be a chance meeting. The orchestra was conducted that evening by Josua Weilerstein, another representative of the new generation.
Frankfurter Neue Presse – 08.02.2012
Guillaume Vincent, a giant already.
The little darlings of the new generation of French piano players should worry about Guillaume Vincent’s arrival on the international music scene. Not only is he endowed with the multiple musical qualities his fellow players are fortunate to possess, but he is also and above all a phenomenon, of a kind that each century begets with parsimony. Just listen to his Hungarian Rhapsody No6 by Liszt on his website and you will conclude that he has very little cause to be jealous of Horowitz, Cziffra or Argerich.
Olivier Bellamy, Classica July-August 2011
Concert of the Long-Thibaud Prize-Winners at the Koïfhus in Colmar.
Guillaume Vincent, third at Marguerite Long Grand Prix two seasons ago, is , at the age of 20, remarkably self-confident at the keyboard. He perfectly mastered his thorny programme replete with so many traps. His virtuoso performance of the Hungarian rhapsody No6 did not go unnoticed and he was enthusiastically acclaimed when he played it for an encore.
b.fz, Dernières Nouvelles d’Alsace, 12/07/2011
“Whenever he plays, Guillaume Vincent can sweep his audience away into pure musical enjoyment. The programme he played in his recital last Monday at the Socorro Astol del ISIC started by taking us back to the nineteenth century with Beethoven’s Sonata 11 opus 22. Throughout his performance he proved himself to be a connoisseur of the classical composers whose works he played with unruffled ease, as if they were mere games and to which his audience immediately responded.”
Debate.com.,04/03/2011, Culiacan, Mexico
“Guillaume Vincent swept away his audience of nearly 600 into pure musical enjoyment. The programme he played in his recital on Monday proves he is an expressive pianist who takes delight in the notes of his piano and wholly relishes the music played by the orchestra. His face says it all: he is happy like a child. He takes a stroll through the mythical concerto(the 3rd) by the German composer who was almost 30 when he created it, at a time when his pianistic genius was approaching its peak.”
Prometeo Diletante, 27/02/2011,Torreon, Mexico
“When talent and charisma unite and when the acoustics of the concert hall is nearing perfection, what you get is a truly exceptional concert. The soloist literally mesmerised his audience for two hours, as he played Beethoven, Liszt, Brahms and Alban Berg, all equally brilliantly;”
M-C Quero, Théâtre de l’Etang, Saint-Estève, 30/01/2011
“While Guillaume Vincent combines stunning maturity with sobriety and precision when he plays Bach, it is in the romantic repertoire that his talent fully expresses itself. Beethoven’s Sonata 11 recaptures its warms strains, Chopin’s Scherzos their melancholic impetuosity and the imperative and unsurpassable masterpiece in the repertoire for the virtuosi, Liszt’s Sonata in B minor is given to us in its full force. Guillaume Vincent is more than promising. Indeed he already is a unique and toughened artist.”
Théâtre de Nîmes, 8/11/2010
“Guillaume Vincent, the winner of the third Marguerite Long Grand Prix fully lives his music and his rendering of the various works by Bach, Mozart, Chopin, Rachmaninov and Dutilleux has enthralled his riveted audience.”
La Renaissance lochoise, Sonates d’automne, October 2010)
“Guillaume Vincent already imparts Chopin’s first two Scherzos a Lisztian amplitude, with a sense of urgency and drama that his generous execution combines with great technique, force and panache.
With its Faustian thematic, Rachmaninov’s First Sonata belongs to the legacy of Chopin, of which we are reminded again in the Second Sonata when Guillaume Vincent plays it : he takes up the challenge with ease and the sonorous high waves brilliantly crash on to the Yamaha that suddenly seems too constricted, but he achieves this with the expressive temperance without which this piece of music might easily get out of control. For the encore, it had to be Liszt, of course, and it was the Sixth Hungarian Rhapsody played with brio forfeiting neither humour nor elegance.”
Simon Corley, Les Solistes aux Serres d’Auteuil, September 2010
“Guillaume Vincent knows how to create an atmosphere, as he acts more as a subdued medium rather than a wilful actor. This grants his character a sort of weightless and transient melancholy. One paid all the more attention to the nuances in the slow phrases. Everlasting farewells and evanescent sounds in the autumnal crisp air of the Cloister. It was precisely in the improvised fantasy of Liszt’s Sonata that Guillaume managed to create a rare magical moment combining perfect technique and dramaturgy.
Tübingen, Festival CHT Goes Classics, Quotidien souabe 21/09/2010
“Guillaume Vincent illuminates Liszt and Rachmaninov with his perfect technique and virtuosity in a dazzling manner.”
Miguel Angel Nepomuceno, Festival Internacional « Reino de Leon », July 2010)
“Guillaume Vincent, the 18 year-old prodigy, won the hearts of his audience in the Notre-Dame Church. We had such marvellous moments with Mozart, Schumann and Chopin.”
L’Yonne républicaine, Rencontres musicales de Noyers, 24/07/2010)
“At the very first measures of the Funeral sonata, he manages to find the right pitch and to express the tormented nature of the first movement, especially thanks to his well-balanced sonority and his tempo guisto . In the second movement, he shows perfect pianistic mastery and great feelings in its main part. One is impressed, in the second theme, by the atmosphere of his Funeral March and the wonderful colours he attains when he plays pianissimo. In the First Scherzo that follows, all the elements are very clearly set forth. Guillaume Vincent knows how to bring new life to the piece despite its reiterations. A gloriously interpreted coda offers him a well-deserved success. And to end this short recital in the most beautiful way, he played The Elegy opus 3 by Rachmaninov for an encore, with both depth and restraint. A pianist to be followed…”
Revue Pianiste n°62, May-June 2010, Piano Campus à Pontoise
« Guillaume Vincent is a very young pianist whose command and maturity are astonishing.”
Anne Quéfellec, Festival Pianos en Saintonge, (March 2009)
On Friday Guillaume Vincent was entrusted the formidable honour of beginning hostilities , which he did with true Richterian commitment (or should I say savagery? ) when he attacked the aptly named Devilish Suggestion by Prokofiev. And he is only 17! The audience were quick to perceive the feat and gave him a standing and wild ovation.
Charles Vincent, Pianos en Saintonge, (March 2009)