The accordionist and pianist Fanny Vicens, an award winner of the Fondation Banque Populaire (Paris) and the Yehudi Menuhin Foundation (Stuttgart), is one of the most unusual musicians of her generation. Her advanced studies in performance, pedagogy and musicology between 2003 and 2014 led her to the Sorbonne University, the Paris Conservatoire Supérieur and the Musikhochschulen of Trossingen, Germany and Luzern, Switzerland. Vicens principal teachers were Hugo Noth, Hans Maier, Anne-Maria Hölscher, Denis Pascal and Reinhard Becker.

Vicens bases her performances on a deep understanding of the repertoires she plays. She won the Sacem Analysis Prize at the age of 14, and has been appearing on international concert platforms since her youth. She has appeared as a soloist and a chamber player at leading venues around the world, among them the L’Arsenal in Metz, Cité de la Musique, the Odessa Philharmonie, the Vienna Konzerthaus, the Haus der Berliner Festspiele, the KKL Lucerne, and Pollini Auditorium in Padova.

Vicens’ programs reflect not only her commitment to contemporary music and premieres, but her passionate interest in historically informed performance of the keyboard music of the 15th to 18th centuries. She teaches in both disciplines at the Pôle Supérieur in Dijon, and offers master classes for multiple European academies.

Fanny is also a frequent ensemble player, and has performed with over thirty European ensembles including l’Ensemble Intercontemporain, Ensemble Modern, 2e2m, l’Itinéraire, Cairn, and Soyuz 21, among others. She also appears as a soloist in concertos for accordion and piano, playing the works of Françaix, Nordheim, Haas, Constant, and Chengbi An on the former, and of Mozart and Chostakovitch on the latter, with the Orchestre National de Lorraine, the Orchestre de Bretagne, the Orchestre Perpignan Méditerranée, the Orchestre de Cannes, le Nouvel Ensemble Contemporain, and the Kammerorchester Pforzheim. Fanny has premiered works by Johannes Kalitzke, Stefano Gervasoni, Frédéric Pattar, Juan Pablo Carreno, Marco Suarez, Jérôme Combier, and Oscar Bianchi, as well as those of many composers of her generation, with whom she regularly reflects on the accordion’s identity.

Vicens has mastered an extensive repertoire with electronics, and recently collaborated on the building of the first quarter tone accordion in France. Her multi-disciplinary projects include work with the choreographer Maud Le Pladec and the X.A.M.P. duo with Jean-Etienne Sotty She was an award winner in the Bechstein Piano Competition and the Deutscher Hochschulwettbewerb; her work has also received support from the DAAD, the Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and the Fondation Iris Marquardt.

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