Musical Mediation
Since 2021, as part of the Les Mercredis de la Chapelle Pol festival, Adrian Herpe has been developing a lively and accessible musical mediation program designed to bring audiences closer to works and composers. Through insightful presentations, discussions with listeners, and musical examples played on the piano, he offers keys to listening that shed light on the context, form, and imagination of the works, while leaving a central place for emotion and the concert experience. This approach aims to make classical music more familiar, intriguing, and shared, at the heart of the Chapelle Pol.
🎹 The Three Days of Piano in Brignogan
A convivial and demanding musical interlude
Organized every summer at the Chapelle Pol by the Musiques en Côte des Légendes association, the Trois Jours de Piano de Brignogan has become an unmissable event for music lovers, aspiring pianists, and curious audiences, combining commented concerts, open masterclasses, and artistic discoveries. Hosted by Adrian Herpe (accompanied since 2024 by Nika Sidor), these three days are designed as an immersion in the piano repertoire, promoting sharing and transmission in a heritage location facing the sea.
For Adrian Herpe, one of the key challenges of the Trois Jours de Piano de Brignogan is to break down the traditional barriers between artists and the public. By offering presented concerts, open masterclasses, and informal exchanges, he advocates a lively approach to music, where listening is nourished by conversation, transmission, and human closeness. This approach aims to demystify the concert without ever diminishing its artistic standards, so that everyone can freely enter the world of the works and composers.
The detailed program for the Three Days of Piano can be found on the Musiques en Côte des Légendes website, and the project will be repeated in 2026, continuing this dynamic of sharing at the heart of the Chapelle Pol. This desire to engage with audiences extends beyond the Breton festival: Adrian Herpe regularly presents and comments on his recitals in many different contexts, both in France and abroad, convinced that direct contact with the audience is an essential part of the musical experience.