Video on demand collection



Ten videos in HD, for the enjoyment of every romantic music and historical keyboards enthusiast.

Concerts, masterclasses, seminars by researcher-musicians : diversified content, which offers new tools for listening and interpretation, for amateurs of romantic repertoire as well as for specialists of this period.

A rewarding experience, contributing also to the development of La Nouvelle Athènes.

In search of the romantic spirit

A day at the Hôtel de Noailles

around the piano Silbermann 1749

The pre-romantic aesthetic between resonances and sympathetic strings

This project is carried by the fine-flower of the 18th century keyboardists of La Nouvelle Athenes:


  • Aline Zylberajch - initiator of the discovery of the first Cristofori pianofori in France (Scarlatti - Diapason d'or in the 2000s) -,


  • Aurélien Delage - who studied organized piano (harpsichord, piano, organ in one instrument) by Sébastien Erard for the Musée de la Musique -

  • Philippe Grisvard - who has just released a remarkable record on a Stein piano, by composer Carl Friedrich Fasch, colleague of CPE Bach at the court of Potsdam for the Audax label ... surrounded by Johannes Pramsohler violin, Etienne Mangot gambetta all'inglese, Sebastijan Bereta traverso.

4 mini videos explore the different sound worlds offered by this copy of the Gottfried Silberman 1749 piano in the Germanisches Nationalmuseum in Nuremberg:

  • a pre-romantic trio of Giordani (master of Field in Dublin),

  • the happy association of the piano and the traverso with a concerto by Quantz that Frederick II of Prussia must have played,

  • Haydn's early sonatas,

  • CPE Bach's sonata in B minor for violin and piano,

  • exceptional pieces by Lang, Sales, Schaffrath and CPE for gambetta all'inglese and pianoforte.


The artists present their approaches in two interviews.

The exceptional setting of the salon of the Duchess of Noailles allowed us to recall the memory of the stay of Jean-Chrétien Bach, the singer Tenducci and Mozart during the summer of 1778.

A whole lineage around Germanic music in Paris.


to the hospitality of Françoise Brissard our hostess,

to Kerstin Schwarz, postwoman of the copy of Gottfried Silbermann

to the neighbors the Beaulaincourt Family and to Hiam El Khoury-Brissard .

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A la recherche de l'esprit romantique

In search of the romantic spirit

6 young modern pianists - winners of international competitions, of the Royaumont Foundation… - set off in search of the romantic spirit with the Streicher 1847 piano from La Nouvelle Athens as a guide and listening to the recordings of the last romantics.


These mini-concerts followed by short discussions reflect their visions and aspirations to continue the adventure.

  • Madoka Fukami, Arman Grigorian, Hyewon Ha, pianists

  • Noémie Berz piano & Kevin Bourdat cello: Duo Camille Claudel

  • Flore Merlin piano & Marine Friborg mezzo-soprano,

  • Paul Drouet piano, Clémence Mériaux & Hugo Boulanger violins, Sophie Anselin viola, Caroline Sypniewski cello


Particular attention is paid to the composers Fanny Hensel (Mendelssohn), Clara Schumann (Wieck) and Pauline Viardot (Garcia) who have a place equal to Frédéric Chopin, Robert Schumann, Franz Liszt, Karl Loewe or Edvard Grieg.


to the coaching of Edoardo Torbianelli, Luca Montebugnoli

from the Early Recordings Group:

Sebastian Bausch, Laura Granero, Artem Belogurov,

Octavie Dostaler-Lalonde, Johannes Gebauer, Aldo Mata.

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Beethoven Variations Festival

Edoardo Torbianelli, Luca Montebugnoli, Ensemble Lélio

While Beethoven has become an almost standardized popular icon, we are interested in the creative artist, the musician who at each concert knew how to surprise his audience with almost improvised pieces and of which one of the playing fields of his genius was the creation. many variations.

We listen to the Wranitzky variations by Edoardo Torbianelli professor at the Schola Cantorum Basiliensis, at the University of the Arts of Bern, of the sonata at Thérèse by Luca Montebugnoli professor at the CRR of Paris and of the Trio op. 11 for clarinet, cello and piano on the theme “Pria ch'io Impegno” from Weigl's opera, which the Ensemble Lélio enriches with an opera aria and an Irish air very fashionable in Beethoven's time.

Filmed at the Salon Streicher, at Véronique Burnod's

Original Rosenberger 1820 piano, Luca Montegnoli collection

Directed by Elie Delpit, Blue Danube & New Athens co-production

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Kai Köpp, directeur de Recherche Universit

Masterclass Brahms, Trio op.8

Kai Köpp, Research Director University of the Arts, Bern
Trio 1905: Jérôme Bertier, Amarillys Billet, Gauthier Broutin

We are at the beginnings of a movement to re-read the romantic repertoire, the scope of which can go as far as the baroque movement 40 years ago.

In this masterclass filmed at the Buttes Chaumont, on the association's Streicher 1847 Viennese period piano, Kai Köpp reveals a method - crossing the sources written and recorded at the end of the 19th century - to get out of modern stereotypes and rediscover the fluidity of tempo and melodic line; the feeling of a quasi improvisation which emanate from these old recordings.


Filmed at the Salon Streicher, at Véronique Burnod's

Original Streicher 1847 piano, New Athens collection

Directed by Elie Delpit, Blue Danube & New Athens co-production


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Schumann, Brahms

Davidsbündlertanze, Valses op.39
Laura Granero, Sebastian Bausch

The use of recordings of the pupils of Clara and Brahms (like Ilona Eibenschütz, Fanny Davies or Adelina de Lara) with those of other pianists (like, for example, Alfred Grünfeld, who was extremely appreciated in his interpretation of the Viennese waltzes) as well as the written testimonies on their teaching and their play will allow us, to get closer to what they recognized as a beautiful interpretation of these dances and perhaps to give some clues to imagine possible answers to these questions.


Recorded in the studio of Christoph Kern,

Staufen im Breisgau (Germany)

Original Blüthner 1856 piano, Christoph Kern collection

Realization Elam Rotem


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Brahms, Sonata Op.78 violin & Piano

Johannes Gebauer violin, Sebastian Bausch piano,
Research musicians University of the Arts, Bern

What started as an experiment to rehearse during confinement has evolved into a professional recording of the first movement of The Violin Sonata Op. 78 of Brahms. This work was composed at the same time as the violin concerto in 1878 with in mind his friend and close collaborator, the violinist Joseph Joachim. Joachim was particularly famous for his style of free interpretation which gave the audience an impression of extreme spontaneity and great intimacy. Johannes Gebauer and Sebastian Bausch re-examine sound and didactic sources to find indications of their rereading of this repertoire.

Remote recorded between Berlin and Saint Galle

Johannes Gebauer violin, Sebastian Bausch

Original piano Bösendorfer 1908


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Beethoven Sonata Op. 28,

Unpublished roll by Carl Reinecke

Sebastian Bausch, research pianist

The precious recording of the piano roll made it possible to capture only the tempo and rhythm of Reinecke's performance, while the dynamics could not be recorded. To at least give an impression of how Reinecke's playing might have sounded, Sebastian Bausch offers to reconstruct his interpretation as faithfully as possible and add the missing dynamics plausibly, based on his studies of the writings of Reinecke on piano playing and on historical recordings of stylistically comparable pianists.

Recorded in the studio of Christoph Kern,

Staufen im Breisgau (Germany)

Original Blüthner 1856 piano, Christoph Kern collection

Realization Elam Rotem


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Camille Saint-Saëns,

Romance and Languorous Waltz

Octavie Dostaler-Lalonde cello, Artem Belogurov piano

For this program, we have not only recordings of Saint-Saëns himself on the piano, but also of his partners such as the Dutch cellist Joseph Hollman, the French violinist Gabriel Willaume, the virtuoso Pablo de Sarasate… These recordings often have a particular charm, a certain candor in the play of these last romantics and at the same time, an unconstrained verve and enthusiasm, the musicians seeming to express with perfect naturalness and without compromise the deep meaning of each musical moment. Octavie Dostaler-Lalonde and Artem Belogurov were inspired by the study of his recordings to offer their own interpretation.

Amsterdam - Octavie Dostaler-Lalonde cello & Artem Belogurov piano

Romance and Languorous Waltz by Camille Saint-Saens

Video produced by Andrea Friggi in Amsterdam

In the living room of Viola by Hoog & Marten Root, on their Blüthner piano


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Romantic evening,

Schumann, Popper, Servais

Aldo Mata, cello

"From the recording of the accompaniment to Schumann's Abendlied directed by Georges Enesco, preserved on an unpublished roll, and accompanied by a voice-over reciting the verses of the lied, Aldo Mata interprets this famous lied. inspired by the testimonies of Andreas Moser assistant of Joachim, and recordings of the violinist Marie Soldat.

The Etudes de Popper, partner cellist of Brahms and Liszt, illustrate the Central European conception of the romantic cello and its connection with Chopin.

All this in opposition to the Franco-Belgian school, embodied on the cello by Adrien-François Servais, with a fragment of his Souvenir de Spa which opens up a whole world of portamento through his expressive fingerings. "


Aldo Mata, cello

Georges Enesco piano recorded 1926, Jeanne-Marie Lelièvre voice

Filmed in Madrid - Salon de l'Escuela Superior de Canto

Director Alexis Delgado


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Auguste Franchomme,

Nocturne op.14 n°3

Fernando Caida-Greco violoncelle, Edoardo Torbianelli piano,

Franchomme s'est certainement inspiré pour cette composition de son ami Frédéric Chopin, le plus célèbre représentant de cette forme musicale, et l'a écrite en lien avec l'idée vocale du mélodrame italien de l'époque. 

Nous ne disposons pas d’enregistrement direct de Franchomme, l’élaboration de cette interprétation s’est construite grâce à l’appropriation des sources écrites des cercles de Chopin et Franchomme, notamment des critiques de leurs concerts. Le duo s’est également attaché à trouver un jeu libre (flexibilité rythmique, d’intonation - portamento, vibrato), capable de réagir aux propositions du partenaire, rendant chaque concert unique, dans un sentiment de quasi-improvisation.


Concert 1er octobre 2017 à l'abbaye de Royaumont

Violoncelle C.A. Miremont 1880, Archet F.N. Voirin 1870, cordes en boyaux

Piano original Pleyel 1842, collection Edwin Beunk


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