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Jean-Marc Luisada,

Jean-Marc Luisada’s album ‘Au cinéma ce soir’ is, first of all, a dream come true for one of the most extraordinary movie buffs in the world of classical music. It is also a tribute to Luisada’s parents, and to the cinematic masterpieces that have made their mark on his life and nourished his artistic existence.

The works assembled here testify to the permeability between the Seventh Art and the great classical repertory and to all that the former owes the latter. Most of the pieces on this album are played in their original form and have not been arranged for this programme, unlike other recent releases. They display great diversity of emotion, showing just why they have the power to fascinate and move all lovers of cinema.


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‘The cinema is probably the only place in the world where a man can cry, even sob without the slightest shame’, says Jean-Marc Luisada.


Luisada is much more than a cinephile. He becomes a creator himself when he multiplies encounters between music, image and text. Because he is first and foremost a storyteller when he plays the piano, he is inspired by the stories of the world, from the most banal to the most extraordinary, to enrich his own universe, which he transmits to the audience from the concert platform.


In truth, his own playing – and that of his students for he is one of the most sought-after teachers – is above all ‘retinal’. He captures the vibrations of light, the waves of movement, the dialogues that have become silent on the written page and yet come back to life between his two hands at the piano. Hence we may wonder whether the image is printed on the score or reflected in a series of shots conceived by a film director. The resulting work, projected or published, is implacable in its logic; it invites us on a journey into the ineffable, to the intimate avowal of a Chopin Mazurka or a silence in Bergman. Every director, like every composer, is the creator of their own atmosphere, one might almost say of their own scent that clings to the celluloid; and their films, the finest of them, the ones that give you a lump in the throat or make you laugh out loud, distil a unique mood, just like a movement for strings by Mahler. Immortality in not much more than an hour . . .


Every movie accompanies a human destiny. A destiny that can be experienced in a myriad of costumes, languages, locales, and pieces of music: Mahler and Visconti’s Death in Venice, Brahms and Louis Malle’s The Lovers or André Delvaux’s Rendez-vous à Bray, Gershwin and Woody Allen’s Manhattan, Wagner and Visconti’s Ludwig, Rota and Fellini’s Casanova and La Dolce Vita, Chopin and Bergman’s Cries and Whispers, Joplin and George Roy Hill’s The Sting, Mozart and John Huston’s The Unforgiven . . .


These moments of drama or delight represent much more than slices of life. They nourish our souls, like the greatest texts; we may remember them only imperfectly, but that doesn’t matter. Pieces of celluloid, pieces of music like this give us faith in the greatness of human beings, in their dreams, in their hopes, sometimes disappointed, but often thrilling.


La Dolce Vita (Federico Fellini, 1960)


  • Nino Rota – Main theme 1’49


Death in Venice (Luchino Visconti, 1971)


  • Gustav Mahler – Symphony n°5 Adagietto (Adaptation: Alexandre Tharaud) 10’24

The Unforgiven (John Huston, 1960)


  • Wolfgang Amadeus Mozart – Fantasy in D minor K.397 6’15

The Lovers (Louis Malle, 1958)


  • Johannes Brahms – Theme and Variations in D minor 11’25

The Sting (George Roy Hill, 1973)


  • Scott Joplin – Solace 3’36

Manhattan (Woody Allen, 1979) George Gershwin – Rhapsody in Blue


  • Molto moderato 10’11
  • Andantino moderato 3’01
  • Agitato e misterioso 3’24

Rendez-vous à Bray (André Delvaux, 1971) Johannes Brahms – 3 Intermezzi op.111


  • Andante moderato 4’47
  • Andante non troppo 4’42
  • Andante con moto 5’56

Casanova (Federico Fellini, 1976)


  • Nino Rota – Waltzes on the Name of Bach : N°1, Circus-Valzer 1’50

Ludwig ou Le Crépuscule des dieux (Luchino Visconti, 1972)


  • Richard Wagner – Élegie 1’41

Cries and Whispers (Ingmar Bergman, 1972)


  • Frédéric Chopin – Mazurka in A minor op.17 n°4 4’33

Jean-Marc Luisada studied the piano at the Yehudi Menuhin School near London and then at the Conservatoire National Supérieur de Musique de Paris, where he won Premiers Prix for piano in Dominique Merlet’s class in 1977 and for chamber music in Geneviève Joy-Dutilleux’s class in 1978.


He was a prizewinner at the Dino Ciani Competition (1983) and the famous Chopin Competition in Warsaw (1985). He received guidance from a number of great teachers, including Denyse Rivière, Marcel Ciampi, Paul Badura-Skoda, Miłosz Magin and Vlado Perlemuter.


Jean-Marc Luisada has pursued an outstanding career as a concert artist for more than thirty years now. He appears in such prestigious venues as the Théâtre des Champs-Élysées in Paris, Alice Tully Hall in New York, Wigmore Hall in London and Suntory Hall in Tokyo, and at famous festivals including the Chopin Festival in Paris, the Festival de La Roque d’Anthéron, the Festival de Besançon, La Folle Journée de Nantes, the Festival Berlioz de La Côte Saint André and La Grange aux Pianos en Berry in France, and elsewhere in Europe and the United States. He also tours Japan, Europe and Canada regularly.


As a chamber musician, he has performed with Gary Hoffman, Pierre Amoyal, Philippe Bernold, Yuzuko Horigome, Patrick Messina, the Talich, Modigliani and Fine Arts Quartets, among others.


In addition to his concert activity, he teaches at the École Normale Alfred Cortot in Paris.

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