Portraits of Jonas Vitaud on French Radio France Musique

Recognized pianist Jonas Vitaud, trained at the Paris Conservatoire (CNSM), excels in recital, chamber music, and contemporary repertoire, especially in works by Dutilleux and Kurtág. A rich interview about his journey, artistic choices, and musical vision with Judith Chaine.

Born into a family blending German culture (his mother is German and a teacher) and a love of beauty (his father imports Asian art objects), Jonas Vitaud discovered music at a very young age thanks to a passionate schoolteacher.

As a shy and very sensitive child, he found in the piano an intimate companion, a refuge. His home was filled with the sounds of Brahms, Mahler, and Bill Evans. His early musical path was shaped by two decisive years with Andrew Sherwood, a countertenor and unconventional teacher, who guided him through Byrd, Bartók, and score-reading games. Their bond was strong until a farewell letter from Sherwood encouraged him to pursue studies elsewhere.

The organ entered his life through the influence of Marie-Louise Jacquet Langlet, a disciple of Tournemire and Messiaen. Enchanted by the “richness of the repertoire” and “contrapuntal possibilities,” he discovered a new sonic world.

He studied at the conservatory of the 17th arrondissement, then joined the CRR. A turning point came with his encounter with Chantal Fraysse, a "very subtle" musician, who offered him a more flexible approach than M.J. Truys: “She taught me to contextualize. An accent doesn’t always mean the same depending on the context and composer.” Thanks to her, he discovered the physical pleasure of playing. “We often separate technique and musicality, but technique is just a means to an end!”

In 1995, Vitaud entered the Paris Conservatoire (CNSM) in Brigitte Engerer’s class, a teacher with a shifting temperament but captivating playing: “She was cyclothymic. Rarely satisfied with herself… but on good days, it was fascinating. And when she played the piano, it was mesmerizing,” he recalls, emphasizing her deep influence — notably the Russian repertoire and a poetic vision of music rooted in intuition and imagery.

At the CNSM, he discovered the richness of chamber music, especially through the intense courses of Pierre-Laurent Aimard. He also forged strong friendships, such as with the members of Trio Cérès — a sign of new musical and human sociability.

In this fourth part of our long interview, Vitaud shares his thoughts on interpretation. For him, after rigorous preparation, it’s about “letting go and surrendering to the moment,” because “the work has been done, you have to trust yourself.” He emphasizes the physical and expressive nature of sound: “Sound is a gesture, a thought,” and highlights the varied demands of different repertoires.

His meeting with composer György Kurtág during CNSM masterclasses was pivotal. He describes Kurtág as “the most demanding musician” he’s ever worked with, a “miniaturist” obsessed with “the infinitely small” and extreme simplicity. Every note had to be deeply felt: “He demanded that awareness from the performer.” This experience brought him to “the very essence of music,” forcing extreme precision with minimal means.

Chamber music plays a central role in Vitaud’s career, especially from 2006 onward with Trio Cérès and his duo with soprano Yumiko Tanimura. These ensembles helped him overcome the stage anxiety that hindered his solo performances. Chamber music, with its call for dialogue and sharing, helped him forget his ego and flourish artistically. It reveals “three-dimensional” musical landscapes, where textures and themes unfold with a depth unattainable in solo work.

This practice also nourished his pianistic style, just as the organ had enriched him earlier. His work with Yumiko Tanimura and the trio he led for ten years were precious milestones. He also explored the four-hands repertoire — an intimate and demanding form of collaboration. Even the slightest difference in attack is noticeable. The main challenge is for the right-hand pianist to play in the lower register with the delicacy of a left hand, to avoid splitting the sound and achieve perfect cohesion.