{"id":162633,"date":"2026-07-28T11:22:41","date_gmt":"2026-07-28T15:22:41","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/concerts-aux-iles-du-bic-andrea-stewart-on-est-toujours-en-creation\/"},"modified":"2026-07-30T10:15:06","modified_gmt":"2026-07-30T14:15:06","slug":"concerts-aux-iles-du-bic-andrea-stewart-on-est-toujours-en-creation","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/concerts-aux-iles-du-bic-andrea-stewart-on-est-toujours-en-creation\/","title":{"rendered":"Concerts aux \u00celes du Bic | Andrea Stewart: \u201cWe\u2019re always creating\u201d"},"content":{"rendered":"\n

A cellist, educator, curator, and artistic initiator, Andrea Stewart has built a career whose many facets span early and contemporary music, chamber music, teaching, and community projects. On the occasion of her participation in the Concerts aux \u00celes du Bic Festival, where she will perform a program dedicated to the French composer Charlotte Sohy, she sits down with Chlo\u00e9 Rouffignac, a contributor to PAN M 360, to discuss the common thread running through her career, her relationship with live music, and the need to build a more human musical community.<\/strong><\/p>\n\n\n\n

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PANM 360: Your career is particularly diverse: you perform early and contemporary music, play chamber music, teach, and also develop community projects. Is there a common thread running through all these activities?<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> I think about this often, because it\u2019s true that I\u2019ve done a lot of different things. At various points in my life, I\u2019ve tried to specialize more, especially because it can be difficult to manage your time when you\u2019re juggling several projects at once.<\/p>\n\n\n\n

The overarching theme might be a bit idealistic: I wonder how I can have a positive impact on the world or on the world of music. It might start with the beauty of a piece of music, the story of a composer, an interesting instrumentation, the exploration of new sounds, or the discovery of a repertoire. But for me, it always comes down to the same question: How can I share the things I find beautiful or meaningful with the audience, and perhaps influence the way we communicate with one another?<\/p>\n\n\n\n

There are things that interest us personally, but there are also things we need to do to get involved in our community and help shape the future we want to see.<\/p>\n\n\n\n

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PANM 360: Is that also what led you to found Jardin musical? Does classical music still need to be presented in a more accessible way?<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> Yes and no. *Jardin musical* is truly a project that is very close to my heart.<\/p>\n\n\n\n

The inspiration came to me during a residency at the Canadian Cultural Center in Paris. In the building\u2019s inner courtyard, two artists had created a garden as a work of art. One of them explained to me that his intention was to create a space where people could gather, share a meal, or hold small poetry readings. It was the very idea of coming together that became a work of art.<\/p>\n\n\n\n

I found that very beautiful, because coming together is also something we constantly seek in live music. The presence of the audience influences the concert, the show, and the performance.<\/p>\n\n\n\n

I also think a lot about the environment, the climate crisis, and the beauty of gardens, trees, and nature in the city. We should have public access to these spaces, just as we should have public access to art.<\/p>\n\n\n\n

For me, accessibility in music doesn\u2019t necessarily mean changing the art itself. Sometimes it\u2019s helpful to add tools to explain a piece or make it accessible to certain people, but it can also simply be a matter of bringing what we want to express to where people already are.<\/p>\n\n\n\n

During the summer, people spend time in parks and gardens. They stop by on their way home from work or to play with their children. Jardin musical therefore aims to bring art to these places.<\/p>\n\n\n\n

The environment also transforms music. It creates a concert or an experience that we have never heard before and that we will never hear exactly the same way again. The music is infused with the rustling of leaves, the wind, birdsong, or the laughter of nearby children. It becomes a truly shared experience.<\/p>\n\n\n\n

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PANM 360: This connection to the environment seems particularly relevant for a festival like the \u00celes du Bic Festival. As an artist, do you notice a difference when you perform outdoors rather than in a traditional venue?<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> Absolutely. The acoustics are different in every space: a closed hall, a church, a forest, or an outdoor venue. But there\u2019s also the energy shared with colleagues and the audience.<\/p>\n\n\n\n

It can be incredibly magical. It can also pose a challenge, because musicians are very human and particularly sensitive to changes in humidity and temperature, to the wind, or to overly intense sunlight.<\/p>\n\n\n\n

Sometimes it becomes a mental exercise: you have to stay in the moment and let go of the difficult parts. The energy from the audience helps us a lot. Other sounds in the environment can also help us maintain a sense of space.<\/p>\n\n\n\n

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PANM 360: For string instruments, changes in temperature and humidity can particularly affect tuning. How do you deal with this element of unpredictability?<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> We have to accept it. Musicians can become extremely attuned to details that no one else hears. Sometimes we can even imagine a sound that doesn\u2019t actually exist.<\/p>\n\n\n\n

The challenge, then, is to stay in the present moment. If I\u2019m playing on gut strings, for example, the tuning may change quickly and frequently. But with my fingers, I can adjust each note. Instead of viewing these changes solely as a problem, they can become part of the performance and the experience.<\/p>\n\n\n\n

I think the audience also enjoys seeing that.<\/p>\n\n\n\n

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PANM 360: Our generation of musicians grew up listening to highly polished recordings, sometimes pieced together from a large number of takes. This can make us forget that live music has never been perfectly smooth.<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> In a concert, we naturally seek a kind of perfection, often in the details. But something truly magical happens: the more we work on the details and the overall vision of a piece, a work, or a program, the more our imagination expands.<\/p>\n\n\n\n

What we imagine is constantly changing. So we\u2019re always searching for something else. We need to view music as a process.<\/p>\n\n\n\n

Every concert is different because we ourselves are always changing. Every day, my body feels a little different. I imagine things differently; I adjust my interpretations and the way I listen.<\/p>\n\n\n\n

We\u2019re always creating, even without consciously trying to be. That\u2019s what\u2019s magical about the performing arts: we can never experience exactly the same thing twice. This is true even for a recording, because we ourselves are different the second time we listen to it.<\/p>\n\n\n\n

Several centuries ago, when people heard a piece for the first time, there were sometimes very few rehearsals. Musicians didn\u2019t necessarily have all the information we have today, and the audience would eat, talk, or shout in the hall.<\/p>\n\n\n\n

With recording, we sometimes started trying to replicate things rather than truly creating music and infusing it with our own personality.<\/p>\n\n\n\n

As a performer of early music, contemporary music, and everything in between, I believe it\u2019s possible to create something that reflects who we are and remains authentic, while respecting the score and the composers\u2019 intentions.<\/p>\n\n\n\n

I am very pleased to see that a growing number of musicians, performers, and students today are seeking to develop their own personal interpretations, rather than simply reproducing what they have heard on a recording or learned from their teacher, who in turn learned it from his or her own teacher.<\/p>\n\n\n\n

<\/p>\n\n\n\n

PANM 360: Let\u2019s move on to the program dedicated to Charlotte Sohy. How did you discover her music, and what is your relationship with her works?<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> For the past four years, I have been co-directing a chamber music workshop at the Orford Music Academy with my colleagues from collectif9. Every year, we try to introduce our students to new voices.<\/p>\n\n\n\n

It was thanks to the work of a French organization dedicated to female composers that I discovered Charlotte Sohy\u2019s music. We first had our students at Orford perform some of her works.<\/p>\n\n\n\n

It was the first time I had discovered a female composer truly rooted in the Belle \u00c9poque\u2014a contemporary of Debussy\u2014whose music struck me as equally beautiful, complex, and imaginative. I immediately fell in love with her world.<\/p>\n\n\n\n

Thibault Bertin-Maghit, the artistic director of the Concerts aux \u00celes du Bic Festival, also took part in this program for students. He then began listening more closely to her music and exploring other aspects of her repertoire. He ultimately organized a concert entirely dedicated to Charlotte Sohy, offering the opportunity to discover several of her works and to introduce the audience to this composer whom we have, collectively, just rediscovered.<\/p>\n\n\n\n

I am deeply grateful to the people who undertook this work of research and rediscovery. It is a monumental undertaking that not only does justice to this composer but also helps all performers today who wish to share her music.<\/p>\n\n\n\n

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PANM 360: What does the program reveal about its artistic and personal evolution?<\/strong><\/p>\n\n\n\n

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Andrea Stewart :<\/strong> I first discovered his quartets, even though those aren\u2019t the works we\u2019ll be performing during this concert. We then explored his piano music, his piano trio, and several pieces for violin and piano.<\/p>\n\n\n\n

What I really love is that when we look at Charlotte Sohy\u2019s life alongside her music, we can hear a part of what she\u2019s been through.<\/p>\n\n\n\n

The Piano Fantasy that will open the concert, performed by Chlo\u00e9 Dumoulin, has, for example, a very innocent and hopeful quality. It was composed around the time she met the man who would become her husband.<\/p>\n\n\n\n

Later in life, Charlotte Sohy lived through two wars and faced extremely difficult circumstances. She raised seven children and had to care for her family on her own while her husband was at the front. He was very seriously wounded and nearly died.<\/p>\n\n\n\n

In the Trio, certain passages may at first seem simply beautiful or naive. But when we understand what she was going through at the time of writing\u2014or in the years leading up to it\u2014we can imagine a woman shouldering immense responsibilities while trying to pursue her musical career.<\/p>\n\n\n\n

She lived in an era when her work was not sufficiently respected, even though she was surrounded by people who supported her. Her husband, who was a composer himself, actually believed she was more talented than he was.<\/p>\n\n\n\n

Nevertheless, she remained a woman in a world where women were not treated as equals. She bore many responsibilities and a heavy burden. In her music, one can hear both the very dark elements lurking in the background and her effort to preserve a sense of light.<\/p>\n\n\n\n

It\u2019s these layers of complexity that I find particularly interesting. We\u2019ve discussed them at length with Chlo\u00e9 Chaban and Chlo\u00e9 Dumoulin, the two wonderful musicians with whom I\u2019ll be sharing the stage. These reflections have transformed our approach to music.<\/p>\n\n\n\n

I hope the audience will pick up on some of these aspects. But I believe they will, at the very least, sense the full complexity of the emotions she experienced.<\/p>\n\n\n\n

There are also aspects of her life that I can personally relate to. That\u2019s always what we look for in a performance: what we share with the person who created the work. I feel a certain connection with her and with many aspects of her experience.<\/p>\n\n\n\n

<\/p>\n\n\n\n

PANM 360: Her music seems to radiate a great deal of light and hope, even as she was going through extremely difficult times. Could songwriting have been a way for her to find balance or to escape?<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

Andrea Stewart :<\/strong> That\u2019s possible. We can see something similar in today\u2019s society. When life gets complicated or certain things scare us, we sometimes seek a balance between very lighthearted works\u2014which allow us to forget our troubles for a moment\u2014and others that directly reflect what we\u2019re going through.<\/p>\n\n\n\n

Charlotte Sohy lived through the war. She saw some of her friends die, she went without food, but her husband was still alive, and she was able to watch her children grow up. It\u2019s possible that all of these experiences have shaped her music.<\/p>\n\n\n\n

From what I’ve read, when she wrote, she threw herself completely into the music. She gave it her all. Her entire life, however, was shaped by what she was going through, and that inevitably comes through in her works.<\/p>\n\n\n\n

Writing can also be a way to deal with difficult things. Sometimes we write without intending to share what we\u2019ve written, simply to lighten the burden we carry. She wrote not only music but also many texts and lyrics. Her artistic expression was very comprehensive.<\/p>\n\n\n\n

She also worked tirelessly to promote her music and her husband\u2019s. She did so with patience, kindness, and unwavering dedication. I was surprised to discover just how consistently she had kept working.<\/p>\n\n\n\n

<\/p>\n\n\n\n

PANM 360: You mention Charlotte Sohy\u2019s perseverance. In your own career, is there a project you\u2019ve long dreamed of bringing to life, or an aspect of your artistic identity that you\u2019ve had to rediscover?<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

Andrea Stewart :<\/strong> I always have several lists of projects and things I\u2019d like to accomplish. Sometimes I wait for the right moment, the time I need, or the funding.<\/p>\n\n\n\n

But there\u2019s also a very personal project. I finished my Ph.D. more than ten years ago. At the time, I was exhausted and saw many things I wished I could change in the classical music world, without knowing how to be part of that change.<\/p>\n\n\n\n

During my studies, I worked extensively on the contemporary repertoire for solo cello. Then, suddenly, I stopped. I couldn\u2019t even bear the thought of being alone on stage anymore. I wanted to share everything with other musicians. Solo performance was no longer part of my vocabulary or even my way of thinking.<\/p>\n\n\n\n

For the past few years, I\u2019ve been working on a solo project again. I presented the first phase of it last April at Espace Orange, in collaboration with collectif9 and Le Vivier. I\u2019m fortunate to have these partners. I\u2019ve been associate director of collectif9 for fifteen years, and I also collaborate extensively with Le Vivier, because I deeply believe in their mission.<\/p>\n\n\n\n

This project represents a vision that is gradually beginning to come true. For a long time, I had too many doubts. There was a disconnect between the way I saw myself and the world of classical music. I couldn\u2019t see how my ideas could fit into that world.<\/p>\n\n\n\n

It took me about ten years to figure out how it could work.<\/p>\n\n\n\n

When we\u2019re students and moving toward our professional careers, we often imagine a very clear path forward. In reality, it\u2019s not a straight path. It\u2019s a journey with many twists and turns. Sometimes we take a step back; sometimes we move forward.<\/p>\n\n\n\n

But these detours are part of what makes life so rich, and they shape our perspectives later on. It took me a while to realize that this journey, with all its twists and turns, had enriched my life immensely.<\/p>\n\n\n\n

However, I don’t think I’ll let a project sit on the back burner for ten years before carrying it out from now on. Instead, I try to keep moving forward in small steps.<\/p>\n\n\n\n

The most important thing is to have partners with whom we share musical and personal values. I\u2019m very lucky to have found these people and to be able to work with them. This allows all the projects we dream of to continue to grow.<\/p>\n\n\n\n

<\/p>\n\n\n\n

PANM 360: Charlotte Sohy is still relatively unknown to the public, and her music is rarely performed. What would you like listeners to discover at this concert?<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

Andrea Stewart :<\/strong>In my work with early music, my colleagues and I conduct a great deal of research on female and male composers and performers from different eras.<\/p>\n\n\n\n

For a long time, we hardly ever performed music composed by women, as if they had never existed. While studying their works, we sometimes discovered peculiarities that could be interpreted in different ways. Were their teachers less demanding of them? Were certain rough edges left uncorrected because their music wasn\u2019t taken as seriously?<\/p>\n\n\n\n

With Charlotte Sohy, even though her music differs from that of other female composers I\u2019ve studied, I don\u2019t hear those kinds of quirks or supposed flaws. I truly hear a unique voice.<\/p>\n\n\n\n

So I was very surprised that we weren\u2019t already more familiar with her music. It hasn\u2019t been performed often enough, and for a long time, her scores weren\u2019t even readily available.<\/p>\n\n\n\n

As for me, I can\u2019t say that I learned about the history of women\u2019s music during high school. I think the first time I performed a piece by a female composer, I was no longer a very young musician.<\/p>\n\n\n\n

When I started doing my own research, I discovered a vast amount of music that I wanted to play. I could probably go the rest of my life without ever playing a piece I already know and still be completely fulfilled by all these discoveries.<\/p>\n\n\n\n

I hope people will come to the concert even if they don’t know Charlotte Sohy. It’s important for them to hear that there’s something familiar in her music, too.<\/p>\n\n\n\n

It is a privilege to hear a piece for the first time while feeling as though you recognize part of its language.<\/p>\n\n\n\n

This concert will be a very special experience: hearing this music come to life for the first time, discovering a new voice that nevertheless carries a certain familiarity, and having it performed by women.<\/p>\n\n\n\n

We will experience this only once.<\/p>\n\n\n

Publicit\u00e9 panam<\/span>
<\/div><\/div>\n\n\n\n

<\/p>\n\n\n\n


<\/p>\n","protected":false},"excerpt":{"rendered":"

A cellist, educator, curator, and artistic initiator, Andrea Stewart has built a career whose many facets span early and contemporary music, chamber music, teaching, and community projects. 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