Throughout this period, the role of the pianist in French music transcended the mere accompaniment of singers and instrumentalists, evolving into a key participant in shaping the performance and interpretation of both new and established works. Fauré’s delicate and expressive pianism in his vocal and chamber music, Satie’s avant-garde innovations, Ravel’s meticulous pianistic textures, and Boulez’s bold experimentation with post-World War II ensemble practices offer a rich landscape for examining the changing dynamics of collaboration. These composers not only influenced how the piano interacts with voice and instruments but also reflected broader shifts in musical thought and performance culture in France.

We seek contributions that engage with the historical, technical, and interpretive dimensions of collaborative piano, exploring topics such as performance practices, pianistic technique, the pianist-composer relationship, and the intersection of tradition and innovation in French chamber music. This symposium will provide a platform for scholars and performers to critically examine the impact of these seminal works on the collaborative piano tradition.

The symposium forms part of the 5-day Wales International Piano Festival (16-20 October 2025) at Bangor University and Galeri Caernarfon and will conclude with a complimentary evening concert of French chamber music at Powis Hall, Bangor University. The programme will include piano trios by Gabriel Fauré and Maurice Ravel, and a selection of chansons by Cécile Chaminade and Lili Boulanger.

• The role of Gabriel Fauré in shaping French chamber music for piano and strings
• Erik Satie’s innovative collaborations with pianists, singers and artists in Parisian salon culture
• Maurice Ravel and the concept of the ‘piano as orchestra’ in collaborative chamber music
• Pierre Boulez and the interplay between pianists and modern instrumentalists such as Pierre-Laurent Aimard and Sophie Cherrier in 20th-Century French music
• The evolution of chamber music performance practices from Fauré to Boulez through French pianists such as Marguerite Long, Jean Hubeau, Jacques Février, Pascal Roge, Anne Queffélec, and Pierre-Laurent Aimard. 
• French singers in chamber music from the Belle Époque to the 21st Century

• Individual papers (20 minutes, plus 10 minutes for discussion)
• Performance-based presentations (up to 45 minutes including questions)

Each proposal should include:

1. Title of Paper/Presentation
2. The author’s name and affiliation (if any)
3. The author’s email address
4. Paper abstract of no more than 250 words
5. Short biographical text of the presenter/participant involved (up to 150 words)
6. Any technical requirements

For performance-based presentations, the word limit of the abstract is 300 words. Please include the names of participants, the repertoire to be performed and a sample recording. »