Palau de la Música in Valencia is hosting the "International Classical Music Awards" ceremony tomorrow, where violinist Renaud Capuçon will receive the "Artist of the Year" award. The breadth and diversity of his repertoire and discography, his collaboration with great conductors, renowned musicians, and orchestras, and his appearances on the world's most important stages are just some of the highlights of his musical career. Renaud Capuçon is also a mentor, conductor, artistic director of several festivals, and an artist actively engaged in social causes.

In January, the International Classical Music Awards announced the 2024 winners, and you were named "Artist of the Year". What does this award mean to you?

It's a great honor for me, of course, both as a musician and violinist. I've known about this association and this award for a long time, and I was especially surprised because I had no idea I would be nominated. So, I was extremely happy when I received the award! It's both an honor and a responsibility, particularly for a musician of our times when classical music needs to be supported and protected. I believe it's a significant moment.

In the upcoming gala of the International Classical Music Awards in Valencia, on April 12th, you'llperform Charlotte Sohy's "Thème varié,"a delightful addition to the evening's musical program. What made you choose this piece?

I immediately proposed this piece, which I discovered two years ago-a wonderful composition. It's like a miniature "Poème de Chausson." Clocking in at 8 minutes, it fits the requirement for a short piece. Two or three years ago, I discovered the French composer Charlotte Sohy, and I admit I fell in love with her music. Firstly, it struck me as very well crafted. I believe it's a perfect time to perform, to bring to light works by lesser-known composers. As a French artist, I'm thrilled to present it. I'm certain it will mark the premiere performance of this piece in Spain with an orchestra. I've played it before, but never with the orchestra. So, I'm eagerly looking forward to it!

French music is a constant presence in your repertoire and discography. Your debut album, "Le boeuf sur le Toit," is an exploration of virtuoso violin pages written by French composers. What do you think makes the French tradition unique?

I believe it's elegance, above all else. Then, of course, the colors... But I think it's mostly about elegance and a certain "art de vivre" (art of living), akin to other French arts, such as fashion, painting, and French cuisine. I think refinement and elegance are truly embodied in the music of this country. And as a French musician, I think it's important to showcase and uphold this art.

In terms of your artistic journey, what has the last year been like for you? What were the key highlights?

You know, I'm an incredibly busy musician. I play the violin and conduct my orchestra in Lausanne, so a lot of great things happened last year. One remarkable event was learning Schoenberg's Violin Concerto, which I performed several times alongside François-Xavier Roth. It was quite a demanding endeavor, given the piece's incredible complexity. Now, for the first time in my life, I'm studying and performing Sergei Prokofiev's Violin Concerto No. 2, alongside Tugan Sokhiev. It's something I've been eagerly anticipating for a long time. In addition, I had the opportunity to perform Sofia Gubaidulina's "Offertorium" for the first time in Paris, and, in two weeks, I'll be presenting the premiere of a concerto composed by Thierry Escaich, which he dedicated to me. We're touring with the Münchner Philharmoniker and Daniel Harding across Munich, Hamburg, Vienna, and Paris. These would be the key highlights. But I've also just completed a recording of opuses by Gabriel Fauré, with the Lausanne Chamber Orchestra, set to be released in June. It includes some well-known works, such as "Pelléas et Mélisande," "Masques et Bergamasques," "Élégie," as well as the composer's Violin Concerto, a work still too little known. I'm so proud and happy that this Fauré opus will finally reach a broader audience.

You step onto the stage as a violinist over 120 times a year, you conduct, you're actively involved in mentoring, and you're the artistic director of several festivals. How do you maintain such a level of creative energy?

I think the driving force is my love for music because everything you mentioned is connected to music, to making music. If I'm not playing, I'm conducting. If I'm not conducting, I'm sitting at a desk planning events, which I often do while traveling-on planes, in cars, on trains. I'm always meeting musicians and making connections with them. I'm an extremely active person who doesn't sleep much. I dedicate many hours to studying or thinking about music. What I'm trying to say is that music is my life... music and family are my priorities. They bring me immense happiness! If someone looked at my schedule, they might think I'm doing too much. But I've never felt more relaxed, even though I'm doing 10 times more than I did 20 years ago. I study much more efficiently, I use my time very carefully, and I strive to be in top form when I go on stage.

Your interpretations have been praised in numerous ways over the years.What do you believe are the three main qualities that define you as a musician?

I think the most important quality a musician should possess is modesty. So, it's not up to me to comment on my qualities. But if I had to name one, it would be my passion for music because it's what I take with me everywhere and what helps me do everything. As for the rest, it's all a matter of preference. Some people appreciate my sound, while others might prefer the sound of a different violinist. It's entirely subjective. If I had to settle on one quality, it would be my love for music and my passion for sharing music. This is the purpose of my life.

The range of repertoire you've delved into is truly impressive-from baroque opuses to classical and romantic masterpieces, from modern opuses to film music, and premieres of contemporary compositions.

I think music is immensely vast. And if you're as passionate about music as I am, you constantly want to discover new things. These four new pieces I'm learning, and which I've mentioned-the premiere of Escaich's work, Schoenberg's Violin Concerto, Prokofiev's Concerto No. 2, Sofia Gubaidulina's "Offertorium"-are an excellent example of the variety in my repertoire. All this in just four months, from December until now. It's certainly a lot of work. But I need German music, for instance. I feel a constant need to return to Schubert, Brahms, sonatas, and trios. Next week, I'll be playing Schubert's Trio and the Trout Quintet; last week, I played Strauss's Sonata... I need German music because I need to feel the sharing of music in its most direct form. It's essential to maintain a balance. I also enjoy playing with the orchestra. I've learned a lot from interpreting works by contemporary composers, whom I can meet, talk to, and ask all the questions I've ever dreamed of asking Brahms, Schubert, Schumann, or Beethoven. It's amazing how learning alongside contemporary composers has granted me far more freedom than I would've had before. That's because we can pose questions to Dusapin or Escaich or any other contemporary composer, and, therefore, realize that they're not as dogmatic as we once thought. No doubt, as performers, we have to adhere to the text and the indications in a score. But composers often grant you far more latitude than you'd expect. This has helped me to play Mozart, Beethoven, and Brahms with more freedom than I ever imagined possible before. That's why I enjoy interpreting a variety of works because these experiences mutually enrich one another, allowing for constant progress. That would be the purpose of a musician. I'm 48 years old; if I said that I've achieved everything, that I'm satisfied with myself, and I'm great, then it would be better to pack up the violin and pursue another profession because it would mean I've run out of things to express. I'm the exact opposite. I always want to learn, progress, and discover new things. I think I'd need four or five lifetimes, or even more, to fulfill my purpose.

Do you find your roles as a soloist and chamber musician to be complementary?

Yes, I've always felt the need to play both chamber music and concerts. It's a balance I've consistently maintained throughout my musical journey. And now I also conduct quite a bit, at least 50 concerts a year. I learn a lot through conducting. I'll also be coming to Bucharest next year to perform and conduct the orchestra there-I'm thrilled and looking forward to it! It represents a fresh approach to music, even though I'm the same musician, and I bring everything I've accumulated over all these years, all my musical knowledge. It's also about sharing. Teaching allows me to learn from my students. Conducting an orchestra or performing solo allows me to learn from the orchestra musicians. When I play chamber music, I learn from my partners. It's a way of constantly learning.

Your concern for the younger generation of musicians is a recurring aspect of your work. How would you describe your approach to mentoring and teaching?

For me, it's as natural as speaking to my son or teaching him something. I helped him learn to walk and talk, something entirely natural to do when it comes to your child. And I feel just as comfortable being alongside young musicians, answering their questions. I have a small group of exceptionally talented musicians whom I support and collaborate with.

You've mentioned in past interviews your deep appreciation for poetry. How does this passion intersect with the act of performance?

Poetry has always been dear to me. I discovered it when I was 14 or 15. I think making music is poetry, and poetry is music. I see them as inseparable. Poetry is the music of words. When I read or hear poetry, I hear music. I think it's linked to how I perceive music. It's not something I consciously think about, I just feel there's a deep connection.

Your musical endeavors are remarkably diverse, and you're also committed to social causes, having been designated an "Artist for Peace" by UNESCO in 2020.One could say you're an ambassador of classical music.What do you believe is your mission?

My mission is expansive, and somehow, I always feel it's never enough; there's always more to be done. Every year, I undertake a series of actions to support causes-I play with the Lausanne Orchestra for people in hospitals, for people with disabilities, for the elderly, and more. I think it's very important. I also think it's imperative to have a presence on the international stage and to address the underfunding of culture, or the apathy towards it, directly in front of political leaders. I think it's essential to have a strong voice and to make oneself heard. As you know, Daniel Barenboim is an artist who always uses his position to advocate for the art of music and the music industry. And I believe there's a need for artists from the new generation to do the same, to publicly support music, to show how much music can aid in diplomacy, for peace. These aren't mere words, nor a fantasy. I truly believe in the power of music to create connections between people.

You started studying music at the age of 4. Since then, you've shared the stage with illustrious conductors, graced some of the world's most important stages, and collaborated with renowned musicians and orchestras. What does "making music" mean to you?

Making music is a constant joy. For me, it's about the passion for sharing the musical act and presenting it to the audience. It's about conveying a message. Ultimately, if you're a Christian, as I am, or if you're religious or have faith, then music is a connection with God. If not, it serves as a connection to nature. But certainly, music is much greater, much more powerful than us.It's something that transcends us. It gives us the possibility of connection. My love for making music is so intense because I know this is how I can offer many things, not just the music itself, but also something transcendent.