Subscribe to Print Edition | Tue., September 04, 2007 Elul 21, 5767 | | Israel Time: 16:53 (EST+7)
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Bringing the masses to Mozart
By Noam Ben-Ze'ev

PROVENCE - It can be reached from Aix-en-Provence in the south, via long roads shaded by avenues of stunning trees, or heading north across the Luberon foothills, which are bisected by fearsome cliffs upon which medieval, gray stone villages perch precariously. Whatever road you take, the journey to the village of La Roque d'Antheron is breathtaking.

For 27 years now, hundreds of thousands of people have traveled the route to reach this tranquil village at the edge of which lies the large forested Parc du Chateau du Florans. And in the middle of that park under the open sky is an amphitheater equipped with a sophisticated acoustic shell, a lovely stage and a Steinway grand piano. For 27 years, from the end of July through mid-August, this part of Provence bustles with visitors to the piano festival, affectionately known as "La Roque," and leading pianists. A week ago marked the end of the 2007 festival, during which thousands of listeners at 70 concerts and recitals heard such superstars as Piotr Anderszewski and Arcadi Volodos, who are still awaited in Israel; the Brazilian Nelson Freire and the French Brigitte Engerer and Lang Lang and performers of ancient music such as harpsichordist Kenneth Weiss and the Concerto Koln Ensemble and a long list of top pianists and alongside them as equals, young and unknown musicians, among them the Israeli pianist, Iddo Bar-Shai.

"From a young age, it was my dream to organize concerts," said Rene Martin, the founder and director of the La Roque d'Antheron Festival, the producer of 1,200 other concerts around the world each year and an internationally powerful and influential figure in the world of musical performance and recordings. "I was born to a family of merchants, so until the age of 14, I didn't listen to music at all. Afterward, I started listening to rock only, then jazz and I even taught myself to play the drums and played with friends."

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His love of the complex jazz works of Charles Mingus prepared him for the moment that changed his life: a chance hearing of the string quartets of the contemporary Hungarian composer Bela Bartok. The hypnotic music was like a revelation to the young Martin, then 16, who wanted to understand what he heard and went to study at the conservatory for musical professions while also pursuing higher education in commerce and business administration. This combination helped him to achieve a dream and at age 22 he produced his first concert with renowned pianist Wilhelm Kempff. A year later he was organizing concerts for other celebrated pianists, such as Argentinian Martha Argerich and Russian Sviatoslav Richter, a legendary pianist whom he befriended and whose career he nurtured during the last decade of his life.

After he was hired to organize the music scene near Aix-en-Provence, he met the mayor of La Roque d'Antheron and the idea for the festival began to germinate. In its first year, the festival boasted world-class musicians: Richter and Argerich, Paul Badura Skoda, Christoph Eschenbach, violinist Oleg Kagan and cellist Misha Maisky. 9,000 spectators came to hear them and sat in plastic chairs on the grass. Today, five times as many people come to the amphitheater and other venues in the area.

Martin said he believes the piano recital is as viable a medium today as ever.

"Why did 20 percent more visitors than the previous year arrive each year? Classical music has the greatest potential for an audience," Martin said. "Anyone who hears Schubert's impromptu for piano once, regardless of who he is, will be affected by it for life. The only problem is that not everyone has access to classical music and I want to solve that."

Martin's love of classical music and his belief that every person in the world can listen to it and enjoy it has not let up.

"I was with my kids at a U2 rock concert and I thought 'Why don't so many people come to classic music performances?' I was sure that it's possible," Martin said. "La Roque was already running and succeeding, but I want to move forward, to inject new blood into the concerts and to introduce classical music to people who had never heard it." Bringing in a new audience is the shared dream of every orchestra, festival and impresario in the world, but no one has found the formula to achieve it. Martin decided to crack this riddle.

"In 1995 I established a classical festival in my hometown, Nantes, and I decided on three conditions that I wouldn't deviate from: to uproot the traditional formality of the concerts and transform them into fun events, enjoyable for all and choose a venue that was pleasant convenient for all; to limit the length of concerts to 45 minutes, instead of two hours; and to reduce the cost of tickets to a minimum and all of this as a backdrop to the underlying condition, which is uncompromising, perfect, professional musical quality." The result is unbelievable: the Festival (known as La Folle Journee, or the mad day, is taken from the name of the play on which Mozart based the opera, "The Marriage of Figaro") attracts huge crowds, more than half of whom have never attended a classical concert in their lives.

"The success was such that I decided to export the festival to the world," said Martin with a smile and lists his international spread: "La Folle Journee" festivals in Lisbon; Bilbao, Spain; Tokyo, Rio de Janeiro. "After Nantes, the festival simply wanders, every month, to a different city," he explains. In every city, tens of thousands of people attend. A look at the figures from the tenth anniversary of the festival in Nantes two years ago sparks astonishment: around 300 concerts for a fee (starting at five euros per ticket) and dozens of free concerts; thousands of performers at nine different venues over five days from morning until nighttime; 120,000 visitors, 60 percent of them new to classical music, who came to the city from all over France. "It's like a bustling airport passenger terminal," said Iddo Bar-Shai, 30, in a conversation at La Roque d'Antheron, describing the Folle Journee festival he participated in in Tokyo. "Dozens of orchestras come and go; 1,000 performers, an audience that comes from vast distances and all in the spirit of Martin, expressing a love of music and enjoyment of it."

Bar-Shai performed the night before at a recital of baroque music at the Granet Museum in Aix-en-Provence. The recital followed a lecture beforehand on pictures from that period displayed there. Bar-Shai is a particular favorite of Martin's and participates in all the festivals he organizes and even merited a recommendation from him to the famous French artistic management agency, following which his international career has taken off.

A tractor that appears among the trees in the park tows a long platform behind it. It is reminiscent of the kibbutz paths, perhaps Kfar Blum, where the Israeli version of the La Roque festival takes place. A large Steinway grand piano sits atop it and Martin waits for the tractor engine to die before he continues to explain how to produce a Folle Journee festival in cities around the world.

"I'm like an architect; planning, drafting the schedule, arriving at the venue with a small team and guiding the local producers on how to realize the sketches, how to build them on the ground," Martin said. "For that, you have to find the best people in each place."

And how do you bring a new audience?

"You go to local neighborhoods, to remote places and do solid groundwork of advertising and marketing"

Who pays for the concerts and subsidizes the tickets?

"The governments, the ministries of culture, the local authorities and local public institutions, they all attribute utmost importance to the festival and they are also joined by private entities."

The question about holding a festival in Israel is inevitable and Martin shows great willingness but won't make any commitments. To Martin, the piano festival is not enough. He also organizes a series of liturgical concerts, a chamber festival and numerous other concerts.

"They say it's an era of crisis for classical music and in order to save it we have to change our way of thinking in a fundamental way," he said. "To present it in new garb, at peak quality and for a minimum price. That's the secret. I think that it is not competition that will draw the audience but rather the passion for music. Festivals and concerts should be an adventure in which artists can freely express themselves. I would like even more people than attend the Folle Journee festivals to come. That is my heart's desire."
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