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Permettez-moi 5 - Credit photo - Guillau

ABOUT

SOME FIGURES

Around a hundred concert dates each year : more than 100 concerts in France in 2018 and around twenty internationally (United States, England, Italy, Switzerland, Luxembourg, Belgium, Czech Republic, Albania).

 

8 solo albums : Piano Solos (1996), Pourquoi Pas (2005), Récréations (2007), Allow Me (2011), Passavant (2013), Hot Gamme (2014), Qui c'est ça (2016), PYP LIVE (2017) (See discography section)

 

2 One man shows : Classical or Jazz - Notebook

 

Many film scores (including "A happiness never arrives alone" with Sophie Marceau and Gad Elmaleh and Celine's Paris with Lorànt Deutsch)

 

Meetings and collaborations : Claude Bolling, François-René Duchâble, Alain Duault, André Manoukian, Laurent Gerra, Nolwenn Leroy, Thomas Dutronc, Sanseverino, Gad Elmaleh, Alexandre Tharaud, Jean-Marc Luisada, Nicolas Stavy

 

Televisions : Chorégies d'Orange (France 3), 19.45 (M6) (to illustrate the influence of Chopin today), 100% Mag (M6)

FORMATION

Born in 1980, Pierre-Yves Plat began classical piano at the age of five. His personality and his innate sense of rhythm lead him spontaneously to boogie, ragtime and stride, then to improvisation, which he learns from artists with universes as different as Edouard Ferlet and Fabrice Eulry.

1986-2008
Classical training with Marie-Claude Legrand (Professor at the Conservatory of Boulogne)

1992-1996
Jazz training (Harmony work…) with Edouard Ferlet (Prize for best jazz pianist in 1992 at Berkelee - “Berklee Jazz Performance Award”)

1996-2002
Jazz band (Boogie, Rock'n roll, Rythm'n blues, Ragtime, Stride) with Fabrice Eulry (nicknamed the "Chopin du Boogie")

2002-2003
Orchestral playing training in Sweden with the Sighstinska Kapellet

COURSE

Born in 1980, Pierre-Yves Plat started to play Classical piano when he was five-years-old with Marie-Claude Legrand. His personality and his inborn sense of rhythm led him to play boogie, ragtime and stride, and later on to create his own compositions thanks to the influence of several artists, including Edouard Ferlet (he received the Berklee jazz performance award in 1992) and Fabrice Eulry (also known under “le Chopin du Boogie-woogie”).

In 1996, on Fabrice Eurly’s instigation, he recorded his first ragtime disc and began performing on stage. Since then he has played in several halls, both in Paris and all over France, and regularly plays at blues, ragtime and Boogie-Woogie festivals. While in Paris he performed on different stages and in different jazz clubs such as: “Le Petit Journal Saint-Michel”, “Le Petit Journal Montparnasse”, “Lattitude Jazz club”, etc.). He also delighted clients with his piano at the Four Seasons Hotel George V in Paris.

The great success of his creative plays of Bach and Chopin during his concerts (in particular during an enthusiastic solo concert at the “Archipel” (Paris, June 2005)), encouraged Pierre-Yves Plat to persevere with his compositions based on the work of Handel, Mozart, Beethoven, Liszt, etc. His compositions, assembled in his album ‘Pourquoi pas’, are based on his astonishing virtuosity, and provide a response to his inner self that combines his love for classical structures and the pleasure of hearing original rhythmic breakaway.

A true performer Pierre-Yves Plat is in his element on stage. As he begins to play a classical masterpiece, he bows his head and puffs out his cheeks in apparent tedium before throwing a cheeky glance towards the audience and breaking into his own ragtime rendition. Never sat still, he dances out of his stool, getting carried away towards the end, bashing out the high notes with his toes. The young virtuoso is even capable of exciting the crowd enough to sing along to his more contemporary rearrangements. Pierre-Yves Plat succeeds in creating a musical cross between humour and fantasy, classical and jazz, a real show!

With the glory of participating in the film ‘Un Bonheur n’arrive Jamais Seul’ with Sophie Marceau, in which he played the double of Gad Elmaleh’s hands in the interpretations of his own piano arrangements Pierre-Yves Plat also enamoured us at the ‘Choregies d’Orange 2012’ in front of 8,000 people, sharing the stage with Laurent Gerra, Adamo and the Monte Carlo Philharminic Orchestra and others.

His speciality: adapting classical pieces into Jazz. His dexterity and astonishing swing make him surely one of the most talented pianists of his generation.

 

TESTIMONIALS

«En assistant au concert de Pierre-Yves Plat, j’ai cru avoir rencontré un extraterrestre. Les mille interrupteurs du cockpit de la navette ne lui poseraient aucun problème pour produire une performance spatiale ».

Jean-François Clervoy, Novembre 2019

« Classique ou jazz ? Pierre-Yves Plat échappe aux étiquettes. Il a l’art d’exécuter avec un très grand sens musical et une étonnante virtuosité les œuvres du grand piano classique, faisant résonner Chopin en ragtime ou Bach en salsa… Ses improvisations malicieuses enthousiasment le public, séduit par les surprises et la fantaisie du spectacle.
Bach, Chopin, Beethoven et bien d’autres dialoguent avec notre époque sous les doigts du jeune virtuose, plein d’audace et d’humour. Un pianiste à découvrir et à suivre ! »

Claude Bolling, 2009

« J’ai eu l’occasion d’entendre Pierre-Yves Plat à plusieurs reprises, et j’ai pu apprécier la qualité de son art aussi bien en tant qu’interprète qu’en tant qu’improvisateur. J’ai particulièrement aimé l’énergie rythmique qui se dégage de son interprétation dans les différentes pièces extraites du répertoire classique traditionnel (Mozart, Bach, Beethoven, Chopin, Brahms, Liszt) en transformant progressivement ou subitement en Ragtime ou en jazz.
Je lui souhaite le plus grand succès possible dans ses spectacles. »

François-René Duchâble, 2009

« J’aime les musiciens qui ont le sens du spectacle /…/ Quant à Pierre-Yves Plat, un pianiste sensationnel, il est expert dans l’art d’introduire du swing dans la musique classique. »

Macha Méril, Point de vue – N°3351 (semaine du 10 au 16 octobre 2012)

« Le seul moyen d’être créatif, c’est d’être soi-même. Contre toute attente, les musiciens de la génération de Pierre-Yves Plat sont plus nombreux à penser ainsi que les enfants des années soixante dont je suis. Aspirer à être un musicien à la fois libre et prospère était très difficile ; aujourd’hui, le contexte est carrément hostile. Je suis donc agréablement stupéfait.
Un soir, Pierre-Yves Plat m’écoutait jouer « Nightmare Boogie » ;

« J’adore l’atmosphère de ce morceau, me dit-il.
– Ce que je viens de jouer est une composition personnelle. Mais la première phrase du thème me gêne un peu, nous l’avons entendu des milliards de fois! répondis-je.
– Justement, une fois de plus ou de moins ; quelle différence? Elle est magnifique cette phrase, c’est ce qui compte.»

Cette réponse (dont le naturel et l’évidence me laissèrent pantois) définit assez bien le musicien qu’est Pierre-Yves Plat. Assumant sa culture classique comme un atout majeur de créativité et non comme un poids, libéré des angoisses qui ont torturé les musiciens du vingtième siècle (« Tout a été dit, etc »), il a choisi en connaissance de cause une voie difficile, parce que boudée par la mode, qui ne délivre des diplômes de créativité qu’à ceux qui la servent. Peu lui importe, il sait que le seul moyen d’être créatif, c’est d’être soi-même. »

Fabrice Eurly, février 2005

CITIZEN ENGAGEMENT

Parallel to his career as a pianist, Pierre-Yves Plat draws on his training in economics to forge a link with the business world, but also to intervene in support of causes related to childhood and illness.

 

He is an Ambassador for the Western Cancer Institute (alongside Breton astronaut Jean-Loup Chrétien (sponsor of the ICO) and René Martin (who notably initiated La Folle Journée de Nantes and the Roque-d'Anthéron International Piano Festival). The ICO offers multidisciplinary care for cancer patients.

 

Pierre-Yves Plat is also a sponsor of Kiwi Organisation; this association creates activities and events for children or teenagers who fight against pain, suffering and illness. These cultural activities help to soften their daily life and bring a new breath of life to the structures that support them. Pierre-Yves Plat intervenes in this context, notably with children in cancerology at the HFME hospital (Lyon) and the hospital of Vienne.

 

He is a member of the board of UP for Humanness. UP for Humanness is a platform that connects and labels initiatives engaged in an action of service, a spiritual experience or a research practice. The idea being notably to rediscover the sense of unity of humanity inseparable from the sense of otherness. This leads to the development of an original path towards the elaboration of new practices and ideas.

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