A constant music exploration

At the Easter and Musical August Festivals, new generations of young chamber musicians succeeded and combined as their founders hoped in 1966: Renaud Capuçon, Jérôme Pernoo, Jérôme Ducros, Nicholas Angelich. The principle is still the same: playing as many pieces as possible, often performing them in concert for the first time.

In 1996, Philippe Augier was immediately confident about the success of the singular and demanding project titled Easter Festival: a music event resulting from a collective project developed by young soloists.
For some years, these soloists have been staying in Deauville, to take the time of exploring their artistic insights and develop their music personality. Being the place of residence where artists under training go to gather strength, catch their breath and share their experiences is a source of happiness for a Mayor who loves music and encourages art education.
Managed since the beginning by Yves Petit de Voize – generous artistic director with a federal approach –, the Festival has become the best appointment for this young generation of talented artists. Year after year, new artists, more interested in exploring this collective experience than in personal success, freely express their talent. The first generation including the Capuçon(s), Angelich, Pernoo, Ducros of 1996 and their Philharmonie de Chambre (modern orchestra associating them to their young chamber colleagues) generously named the succeeding generation, including Jérémie Rhorer, Gautier Capuçon, Henri Demarquette, Stéphanie Marie Degand, Florent Héau, Jérôme Comte, Bertrand Chamayou, Julien Chauvin, Atsushi Sakaï, Jonas Vitaud, Philippe Jaroussky, Antoine Tamestit, Lise Berthaud and the Ebène quartet.


These encounters, meetings, multiple combinations of baroque and modern music gave birth to Le Cercle de l’Harmonie, an elite orchestra playing ancient instruments, formed by Jérémie Rhorer and Julien Chauvin, enthusiast and rigorous artists enriched by the new energies captured by the festival.
Remaining faithful to the project presented by the founders of the Easter festival, they dare to launch rare and ambitious programs that will undoubtedly be listened and understood.
Since its creation, the Musical August was developed to read and play even more music, including harpsichords, ancient and modern pianos and voice.
Reading and playing any types of music, not succumbing to the easy option of providing the usual festival and concert programs – so few works and always the same music! –, fairly sharing bed and board in Deauville…that’s the modest but real contribution that a quartet of intuitive, cultured and demanding friends wanted to give to the French music and to their own life in 1996, creating the Easter Festival.