Join host Stefania Passamonte as she welcomes saxophonist Valentin Michaux from the ACMI duo to discuss breaking barriers in classical music. Valentin shares his journey from Paris to Switzerland, where he met pianist Akvile Silekaite, and talks about their upcoming UK tour launching with a performance at the prestigious Wigmore Hall in London. This is an inspiring conversation about pursuing an unconventional path in classical music and championing the saxophone as a serious concert instrument beyond its jazz and pop associations.
Valentin opens up about his creative journey, revealing how he initially explored klezmer and jazz music before discovering his passion for classical saxophone through a stroke of admission exam luck at age 16. He discusses the challenges and rewards of specializing in classical saxophone, including limited repertoire and the need for inventiveness, while also celebrating the growing presence of women saxophonists on classical stages. The episode features a beautiful performance of Denisov’s Sonata 3rd movement, a fascinating piece written by a Soviet composer during a time when jazz was forbidden, showcasing the instrument’s remarkable versatility and emotional range.
Main Topics
Valentin Michaux is a Paris-born saxophonist now based in Switzerland, performing as part of the ACMI duo with pianist Akvile Silekaite
The duo recently won multiple awards including second prize at the Salieri Zinetti Chamber Music Competition and the Rising Star Grand Prix in Berlin
They're embarking on a UK tour in October with their debut London performance at Wigmore Hall, one of the world's most prestigious chamber music venues
Classical saxophone is a challenging niche requiring inventiveness due to limited classical repertoire, as the instrument is primarily known for jazz and pop
Valentin's path to classical music was organic, beginning with klezmer music in childhood, progressing through jazz, and naturally evolving into classical specialization
The duo just completed recording their first album and discusses the importance of recordings in preserving artistic evolution and making music accessible beyond live performances
Denisov's Sonata featured in the episode is a subversive piece written in the Soviet Union when jazz was forbidden, showcasing how composers imagined the saxophone's capabilities
Full TranscriptHello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program wher...▼
Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. Today on future Classic Women Awards, we will be talking to saxophonist Valentin Michaux for from the ACMI duo. Hello, Valentina. Hello, Valentin. Valentine. How am I calling you? Valentin. Valentine. Valentin. Valentina. Perfect. Valentin. So, Valentin, amazing duo with Akvile Silekaite, a pianist you met in Zurich. And where are you from, Valentine? Valentine, Valentin. I'm from France. I was born in Paris, but I'm living in Switzerland since almost 10 years now. All right, so international. Let's say you're an international duo, Right. So you are just the recipient of an amazing award. In 2018, you got the second prize at the Salieri Zinetti chamber Music competition in Verona in Italy. And then their face, Swiss Music Chamber Competition and Rising Star Grand Prix in Berlin. Wow. Congratulations. And so you're now preparing for a UK tour? Yes, yeah. In October. In October. So, yeah, pretty soon. So which one will be the first venue where we can listen to you performing? First play in Wigmore hall actually, in London. Fantastic. That is the temple of chamber music. Yeah, yeah. This is really exciting to play here. Is that gonna be the first time you play in the uk? Well, with the duo, yes. I've been there alone once this year, but actually just once. So it's very new for us. Fantastic. So I'd like to ask you, I mean, classical saxophonist, what does it mean to be a classical saxophonist? It means a lot in the sense that it's quite a challenge because. Yeah. Can you hear me? Yes, I can. Yes. Yeah. Yeah. Okay. Well, it means a lot because, as you know, the saxophone is quite recent instrument, so it's not very much known as a classical instrument, actually. It's more known for jazz or pop music, actually. Yeah. So you have to be quite inventive because the repertoire is not so big. There is not so much written for classical saxophone. There is a lot of contemporary music and there is a lot of things you can invent, but the repertoire is quite small. So you need to be imaginative and you need to convince people that this is a great instrument for classical music, not only for the jazz or pop repertoire. Absolutely. The thing is, how did you decide to become a classical saxophonist? I mean, how did you fell in love with the instrument and you decided to play classical repertoire instead of, for example, going for jazz or for more modern music? So I don't think I fell in love with Classical saxophone. I fell in love with saxophone, this for sure, because of the sound, because of the aesthetics of the instruments. Yeah, because I really like the. The sound. But then the fact that now I am specialized into classical music, it was not so obvious. It was natural. But I started with klezma music actually when I was a kid, so volcanic music. And then I also practiced jazz for quite a long time as a kid, until actually until the bachelor studies, until the. The postgraduate studies. So then I entered classical Bachelor of saxophone. But that was more or less not random, but it happened because it's admissions exams and I was admitted. So I was like, okay, let's try this. And it's better maybe to do classical first and then come back to jazz. Then if I do the opposite, I will probably not come back to classical. And I also thought at that time that, okay, I'm 16 years old, it's maybe good to do classical studies, to have a good technique. Absolutely. And then we will see. So I started with this and in the end I actually discovered what was classical saxophone at that moment, because I didn't really know what it was about. I didn't know contemporary music that much. And then it happened that I liked it, I loved it. And that actually took a lot of time practicing this. So I didn't have so much time left for other styles. And then time flies. And then I specialized and then I won a couple of awards that even got specialized me more in what I was doing. And then in the end, yeah, this is what I'm doing. So do you think I've seen more classical saxophonists being on stage right now that particularly here in the uk, do you think it's something that is, you know, taking his own space on the classical stages, particularly being women and not just men. I don't see classical men saxophonists, but I've seen a few classical women saxophonists. Well, I hope so. I hope it takes its place. There are actually also a lot of men saxophonists. I think in the UK you have women. Yeah. But in France there are a lot of men. But it's true that there are also a couple of women in Germany and around. It's becoming more, less unusual to see a woman with a saxophone, which is good, I think, because I really don't think it's especially a man instrument. Absolutely, yeah. Do you have anyone in the family that plays an instrument or it just came to you to start to be a musician? My parents are artists, but they are not especially musicians. My father played the flute. Plays the flute, but as an amateur. So they just offered me to play the. Well, to play an instrument and then I chose the saxophone and they were actually surprised because they didn't know anything about the instruments. Absolutely. Well, you know, my dad is a saxophonist, so he's a jazz saxophonist. I know very well the instrument, but not in the shape of classical music, although I know he played all the styles when he was young. So he learned classical as well. So I'm familiar with that. But the saxophone has such a special warm sound, isn't it, among the brasses? It's a very. Yeah. Okay, fantastic. Now the first piece that we're going to listen today, it's from your latest album and is Dennis of Sonata 3rd movement Allegro with the pianist Akvile Sile Kaite. Do you want to tell us something about this piece? Well, yeah, I love this piece. We love this piece. It's really one of our favorites and it's quite special because it's inspired by jazz music but it's written by a Soviet composer. So it's written in the Soviet Union at the time where jazz and actually saxophone was forbidden there. Oh, wow. So it's quite a subversive piece, although we cannot really realize it now, but it was very subversive because the composer, so Edison Denisov had to listen to saxophone like on recordings that were not allowed. And then he collaborated with a French famous saxophonist at that time called Jean Marie Landex who sent him all the a recording with all the possibilities of the instrument, what you can do so he could imagine a bit better. And then he wrote that piece which is, yeah, a bit jazzy but also a bit, a bit contemporary. So it's a really nice hybrid between styles. I really like it. Beautiful. Let's listen to it then. It. Sam. Welcome to women's radio Station. I'm Sarah Louise Ryan and welcome to Love Lessons live on women's radio station. Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's Radio station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at women's Radio Station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Lauren Mishkon. I'm a birth doula and mum of three and I'm passionate about supporting women to have empowering and positive birth experiences. Please join me for my brand new show From Tummy to Mummy here on women's Radio station. Every week I'll be here with an expert guest talking about women's reproductive health, everything fertility, pregnancy, birth and baby related, right through to the menopause and beyond. Please join us for an informative and fun hour. Hello, my name is Ingrid Marsh on Women's Radio Station and coming soon is the Radical Wellbeing show to help support women's wellbeing. Each show I shared airwaves with ordinary women like me and you, doing extraordinary things. Women who have overcome huge obstacles in their lives, who are now here with me to empower you. On the Radical Wellbeing show. You'll be inspired to kick away the roadblocks and live your life to the fullest. If you're ready to get radical about your wellbeing, then this is the show for you. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate. And you can listen to my show get booked here at Women's Radio station daily at 5am and 5pm throughout my shows, we'll talk about the books I've read, new releases, chapter authors, publishers and book enthusiasts, all with a theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch@presentersomensradiostation.com join me on my show and share my love of books and writing. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org you're listening to Women's Radio Station supporting women's well being. Women's Radio Station's creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and Twitter womensradio Station, that's Women's Radio Stn or Facebook Women's Radio Station to keep up to date with all our exciting programmes. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Our guest today is fantastic saxophonist Valentine Micho from the Acme duo Valentin. Valentin. Pardon? I don't think I will manage to pronounce your name properly. Valentin. How important it is to record for a classical musician today. That's a good question because I just finished this week. We recorded our first album with Aguile, actually. So it's a very fresh question. I think. Firstly, it's important for us as artists because it's the achievement of some. A long period of work. So it's good to keep track also of how you evolve as an artist. So if you listen to your recordings from two years ago, three years ago, or just the recent one, just to have a track of your own evolution. Because I don't think we can say improvement in art, but evolution and, well, it's still important that people can listen to you somehow because you don't play every day in concerts. So I think it's nice to have a recording somewhere. But the recording industry is a very big question. And honestly, I don't know yet what to think about it because it's evolving very fast also. So a CD recording now in 2019. I don't know. I don't know if it's the best way to do that or not. I still like the object, the CD object. I'm not very fan of digital platform, but maybe it's the future and maybe I will still need to do it somehow. Absolutely. I remember when I used to love, you know, to listen to the CDs and getting lost in the music while fixing the pictures in the booklet. You know, you always had these very different, interesting pictures. It's something that you can't have on the digital platform, isn't it? It's just a cover and that's it. So, yeah, when the CD is going to come out, when it's going to be published? Still not sure, but I guess around spring. Yeah, it still needs some times actually for the booklet. We still need to do the mastering. The booklet. Yeah. It's the craft behind it as well that is so charming. It's something that doesn't change as well and it becomes a piece of art, isn't it, that we last? I hope so. Now, I know you performed as well on radio, television. What's the difference between performing on a television program instead of on a concert on a normal, you know, classical concert hall? It's much more stressful, I would say it's stressful because you know it's gonna last in time, you know, you know, people can check it after. Yeah, the concert is more exciting for me because you really enjoy the moment with the audience. There is a real connection. You don't think about what's coming after. You just think about the moment, the atmosphere with the audience. When you know it's recorded and when you know it's live, it's even worse because you can't see your audience. You're still worrying about doing it perfect. Because there are podcasts. There are absolutely. So you're really stressed about the quality of the performance and you. It's hard for me to think about the connection with the audience in that sort of exercise. It's a good exercise, but it's hard for me. Well, there is something that. I think the main problem of the recordings of today is the fact that the editing is gone. Such a perfection, technique and advancement that is making the recording perfect. And that's something that is basically not possible, not achievable on a live performance. At the same time, you know, when you try to achieve a perfection, you lose the beauty of the emotion of the music as well. And that's something that the audience doesn't know because they get spoiled by listening to perfect CDs with perfect recordings. And then when they go to the concert hall, they want the same and something, you know, that. Well, you. You need to offer them something different. I think if you are a good performer, if your stage presence is good, then you. Then it's fine because you can offer something unique to the audience without necessarily being perfectly performed because it's not possible. Let's say, technically, the person that goes on stage is super advanced and can play perfectly. But the live performance is something completely different. I've seen concerts, very famous soloist, very advanced in age as well. Soloist, so that they had the biggest experience in the biggest concert halls in the world, etc. They still managed to have big hall of memories and they had, you know, to keep going. They were not pleased with themselves at the end, but the. The audience was super excited anyway because it was actually that extra danger. No, yeah, yeah, it's true. Yeah, yeah. And I think we need to talk more about these. We need to make the. The audience aware about it and, you know, appreciate the risk that we take when we go on stage and when we. Yeah, it's true. You give all yourself, isn't it, for them to experience the best you can give them. And it doesn't matter if the notes are not all perfect out of millions of notes that you're actually playing, isn't it? Yeah. I hope it's not the most important in the concert experience of the listener. Now, the next track we're gonna listen to from your upcoming album is in the the Sonata for Saxophone and Piano with Akvile Silekaite. What can you tell us about this sonata? How did you choose this? Milo. See, Hindemith sonata. Sorry. Yeah. Well, this is actually a transcription. So it's originally written for viola and piano. So we transcribed it for saxophone and piano because we felt it could really match with the instruments. And there is actually an original Hindemith saxophone sonata, but it's not my favorite of. You prefer the viola one? You stole it? I just stole it, yeah. I just thought. Yeah, basically. And it's also to show a very different aspect of the. Of the saxophone abilities because it's such a wonderful instrument in the sense it can do everything. It can do very lyrically, can do very well. Aggressive, it can do strange sounds. It. It can be very. Yeah, very complete. So this is one aspect of the. Of the saxophone, the lyrical aspect of it. So this sonata is quite unique in Hindamit writing because it's very lyrical. The sonata is very long. We're going to listen an extract of it. Yeah. Sa. Welcome to the women's radio station. Supporting women's well being. Women's radio station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. We aim to say celebrate the individuality of every woman everywhere, providing opportunities and the platform for your voice. Visit our website womensradiostation.com for more information. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? Do you wish you could save more money or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with their cash, but just don't know where to start. @empowerandenrich.org you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me@empowerandenrich.org and let's change your future together. Hello, my name is Natasha Ann Kelleher. Welcome to you lovely lady listeners of your very own women's radio station. Over the coming months, I'll be doing a survey in big brand coffee shops interviewing customers, asking why they like to drink coffee and if they would like to give us a health tip. For our listeners, the most shared and liked post will be the winner of a prize. Stay tuned for further details. Hi, I'm Carolyn Van Beers. Please join me for a brand new show here on women's radio station, Its Mother's Hour. If like me You're a mum juggling far too many balls and dropping most of them. This is definitely the show for you. We'll examine the highs and lows of motherhood and make sure you laugh out loud as we take on this challenging role together with spoonfuls of advice, incredible stories. It will be refreshing, honest and funny. Look at being a mum. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk welcome to the Women's Radio Station Supporting Women's well being. Women's Radio Station can give voice to your brand. With a wide range of sponsorship opportunities, including individual programs, we can tailor your experience for you. For more information on how you can sponsor a show, go to womensradiostation.com Women's radio stations supporting women's wellbeing. Welcome back to future Classic Women Awards on Women's Radio Station. Today we're talking to Valentine Michaux from the Acme duo Valentin. We were talking about your amazing, you know, CD that is coming up and I wanted to ask you, how did this collaboration with Akvile was born? How did you decide to play together? Well, it was very quick. It was very sudden. We met at the Zurich University of the Arts. So we were both starting our studies there, master studies in 2015. So there was this welcoming day meeting for new students in the, in the first day actually of school and we had to present briefly ourselves. And at the end of this meeting, I saw this little woman coming to me because she's much smaller than me, saying, hey, well, I'm playing the piano. I used to play with saxophone players in Lithuania. That's unique. And do you want to play with me? I was like, wow. I was really surprised because it's quite rare that pianists are interested in playing with saxophone players because the saxophone repertoire is very modern and they already have plenty to do with cello, violin solo pieces. So it's quite rare to have a pianist willing to play with classical saxophone. So at first I thought, okay, maybe she just doesn't know what it is. So I asked, but what, what did you play there? Because sometimes it's just that, like she could have played just a couple of jazzy pieces and that's it. But that's not what I'm doing, you know? Yeah. So. But then she started telling me all the repertoire she had played. I was like, okay, so she actually knows and she still wants. So, yeah, let's. Let's say yes. I said yes. And then we started right away. And then that was. That was also a very nice surprise because we got along quite well also on a human point of view. So we became friends and then it started to be a real thing. Wow. Now, have you played with male performer on piano in general? In general. In general, yes, of course, in general. Because there are a lot more males that. Than women in saxophone still. So. Yeah, in quartet, I've always played with men. And so would you say also. But yeah, yeah. Would you say is it better to work with a woman or is the same or. I don't know if it's question of genre. I think it's really question of chemistry between two people. So, yeah, I don't know. I also got along very well with men players. It's just. Yeah, it's not exactly the same, but it's. Both are very nice. Yeah. Yeah. So what would you say? I don't prefer something that's good. So what would you say was the most exciting moment in your career with Agvide? We had a couple of. Sorry, we lost you. Say it again. Sorry, Valentin. We had Lucerne Festival debut concert. So it's a. Lucerne Festival is a very big festival in Switzerland. Well, actually it's quite international. And we played there in 2017. That was a highlight because it's a very big exposure to the critics. And so that was definitely a highlight. And the most challenging. And the most challenging moment in your career. The most challenging. One thing was quite challenging. It's not really a concert situation, but once I was doing this competition in. In Riga, so in Latvia, it was a woodwind competition. And it was really at the beginning of our collaboration, so we didn't play so much together. It was 2016, October, so we played maybe one concert, but not a lot of repertoire yet. And so I was there and I passed the first round and then second round, I planned actually to play the Denisov Sonata that we heard before. And when I did the first, so agile was not there because in these competitions you have the official pianist usually. So I went there and actually the pianist didn't know the piece. What. So that was a bit of a surprise. And I was like, okay, what am I supposed to do? Because the semifinal is tomorrow and I need to play this. So then we started to call all the pianists around and no one was available on the day after. And also you need to find someone who knows how to play this piece because it's terribly difficult for the piano. It's insane. So I was like, okay. We didn't find anybody. So in the end of the afternoon I called Agvile. We never played that piece before together. But I knew she was working on it. I knew she was practicing it. So I was like, okay. I called her and I was like, do you have something to do tomorrow? And she was, no, why? I was like, do you think you can play this piece tomorrow? It was like maybe. I was practicing it. I was like, are you sure you can play it? She was like, yeah, yeah. Well, let's, let's see. I was anywhere. I have no idea. So just come. Your last plane is in two hours. So just run to the airport now. Oh, wow. She was like, okay, but now I'm just practicing. I don't have any concert clothes or nothing. I was just taking scores. I will buy you some concert clothes tomorrow morning. Here. What? She ran to the airport. She took the last plane to Riga because there are not so many planes to Riga, of course. Oh my gosh. And then we played the piece on the next day for the first time on this stage for the semifinal. So the first time together and actually it was really good. So I passed to the final and in the end I actually won this competition. So it was very happy ending. But it was really faint to her actually because that was quite a challenge for her and for both of us to play it for the first time live on the semi final. But that was a funny experience. That was a great experience. Well, on that note, the next piece we're gonna listen is called La Folia nuova by Albright. La folia means the madness, the new madness. So shall we listen to it? Yeah, I guess so. Sa. Sam satan. Welcome to women's radio station. I'm Sarah Louise Ryan and welcome to Love lessons live on women's radio station. Hello and welcome to future classic women awards with me, Stefania Passamonte on women's radio station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at women's radio station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Lauren Mishkon. I'm a birth doula and mum of three and I'm passionate about supporting women to have empowering and positive birth experiences. Please join me for my brand new show From Tummy to Mummy here on Women's Radio Station. Every week I'll be here with an expert guest talking about women's reproductive health, everything fertility, pregnancy, birth and baby related, right through to the menopause and beyond. Please join us for an informative and fun hour. Hello, my name is Ingrid Marsh on Women's Radio Station and coming soon is the Radical Wellbeing show to help support women's wellbeing. Each show I share the airwaves with ordinary women like me and you, doing extraordinary things. Women who've overcome huge obstacles in their lives, who are now here with me to empower you on the Radical Wellbeing Show. You'll be inspired to kick away the roadblocks and live your life to the fullest. If you're ready to get radical about your wellbeing, then this is the show for you. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate. And you can listen to my show. Get booked here at Women's Radio station daily at 5am and 5pm throughout my shows we'll talk about the books I've read, new releases, chat to authors, publishers and book enthusiasts, all with the theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch@presentersomensradiostation.com join me on my show and share my love of books and writing. Hi, I'm Valentina Barbachi and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts by about Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@media mattersforwomen.org you're listening to Women's Radio Station supporting women's well being. Women's radio stations creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and Twitter womensradio Station, that's Womens Radio STN or Facebook Women's Radio Station to keep up to date with all our exciting programs. Welcome back to future Classic Women Awards on Women's Radio Station. This is the last part of the program and our guest today is Valentin Michaux. We had a wonderful chat so far. Now it's time for the odd question. Valentin, do you have any strange hobby to free your mind or relax? Yes, I do. Well, I'm dancing salsa. So is Agvider. Actually, we are both dancing. Oh, wow. I'm also sewing a lot. So I'm designing clothes and then sewing them. Oh, wow. Yeah. I've seen some of the amazing clothes in your pictures. Are those designed by you or. It depends which one you've seen. Couple of them, yes. Do you design for both you and Akvile to go on stage or. No, that's a project. That's a project that would be really good to do, but for now, I didn't dare to do that, but I should. Absolutely. Okay. So do you have any ritual or superstition before going on stage? No. Like a favorite cloth or anything? No, I don't think so. I'm. No. That's a very healthy. That's a very healthy answer. Because I know of a dramatic moment when person forgot the favorite, you know, the good luck. I think if you're ready, you're fine. If you're not ready, it will be difficult. Oh, yeah. And do you have any funny moment, embarrassing moment that you get a call in your career on stage or going on stage? We had a funny moment on stage once in Russia with Agvile, because we were playing a contemporary piece where we had to talk. Also during the piece. Yeah. And so Agvile was talking because she can speak Russian and I cannot. So she was talking and when she was talking, a woman in the audience, an old lady, she just stood up and started complaining something in Russian. So we stopped. I was on stage. I was not understanding anything because I don't speak Russian. Well, I understood that something was wrong, obviously. But then Agvile started to reply her. So there was a whole discussion, oh, my gosh. Between this old lady, obviously angry and ugliness. So I was like, okay, I hope everything goes fine. Actually, she was complaining that you shouldn't talk when you're doing a concert. No way. Was trying to explain that this was part of the piece. It was actually a wish from the composer, but she didn't agree. And then the other members of the audience started also to get annoyed by this lady or to take part in the discussion. It was a big mess. Finally we started again playing and then the old lady stood up very noisily and she just went out and slammed the door. No way. That's so strange. Yeah, it was funny. And then for the next. But the concert the day after we decided that we just changed the piece. We don't play this piece anymore. What piece was that? It's a piece called Very Important Things by Enrico Gubla. It's actually very funny, but it's a bit of British humor. Actually, apparently it's not Russian humor. Okay, not so good. Appreciated. But that's so strange. I mean, I'm getting more and more from people that they love. When the performers are introducing the pieces, it's a way of connecting with the audience, isn't it? Yeah, well, yeah, but it was not exactly introducing the piece because it's a piece where it's like very small miniatures about objects and you have to tell the definition of the object. For example, the first movement is a watering can. And then you have to say what a watering can is, and then you play. I see. So she was like, I know. What is a watering can. Yeah, exactly. Like, I don't need to know what is better Again, I got you. Oh, that's very funny. Well, on that note, the next piece we're gonna listen to is Albright. The first movement is a recitative and Mad Dance. So how is that Mad Dance? The mad dance is also inspired by jazz. It's a bit of a bebop atmosphere. It's wonderful. It's quite mad. So, yeah, it was. All right, let's listen to it then. It's. It. Wow. And this was Albright, the fourth movement, recitative and Mad Dance with Valentina Michaux at the saxophone and Akvile Silekaite at the piano. If you have any questions that you would like to ask to our guest or nomination for our future Classic Women awards, please email presenterswomensradiostation.com or tweet us at Women's Radio Stn. A big thank to our guest Valentina Michaux from the Acme Duo for the great chat and the beautiful music play today. Thank you for the invitation. I was really happy to talk with you. It was fantastic. And we're looking forward to listening to you at Wig Moral in October. You've been listening to Future Classic Women Awards on women's radio station live every day at 10am and 10pm London time. If you would like to listen to it again or catch up on our previous program, you can head to the presenters page Future Classic Women Awards on womensradiostation.com. thank you for listening, Sam. Welcome to women's radio Station. I'm Sarah Louise Ryan and welcome to Love Lessons live on women's radio station. Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on Women's Radio Station. Hello and welcome to Julie May is listening. Hi, this is Anna Kennedy and we're at Women's Radio Station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Lauren Mishkon. I'm a birth doula and mum of three and I'm passionate about supporting women to have empowering and positive birth experiences. 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