Monumental is a new film series created by the C.Bechstein team and creative director Morgan Franke, honouring some of the world's most iconic architecture, from the Château de Chenonceau, a UNESCO World Heritage in France to Frank Gehry's Guggenheim Museum in Bilbao amongst many others. The idea is to pair some of today's most celebrated pianists with these architectural wonders creating new dialogues between the music and its environment.

Morgan, could you please elaborate on the concept behind the "Monumental" film series?

The series explores the intersection of music, art, and architecture by showcasing pianists in iconic monuments and museums. It's a delicate balance between avoiding a commercial approach, attracting press attention, and maintaining the essence of the C.Bechstein piano brand. We aim to demonstrate the piano as a connecting element in the cultural world, transcending its mere role as a brand. By featuring it in renowned spaces, we emphasize the intrinsic link between music, art, and society. The series brings an innovative perspective to familiar concert hall settings, allowing us to appreciate these monuments in a unique way.

What were the key elements you aimed to convey as the director, and what is the overarching artistic message you hope to communicate?

Initially, we sought to step away from the piano and our brand identity. As a company deeply connected to art and musicians, we wanted to convey a broader message about the symbiotic relationship between music and culture. Our responsibility extends beyond selling pianos; it's about fostering an open approach to music. We believe that music, like art, should be accessible and not confined to closed doors or exclusive concert halls. Museums symbolize freedom, and we want music to be similarly liberating, breaking free from elitist confines.

How did you select the participating artists and monuments for filming? Could you share insights into the relationship between each artist and the chosen building or architect?

The process was fluid, beginning with the pilot episode featuring Sofiane Pamart in the Château de Chenonceau, a UNESCO World Heritage in France’s Loire region. The irreverent modern-classical French composer, dubbed the “Piano King”, brought his majestic personality and captivating sound to the grandiose palace. It was in the very same castle that Debussy, who famously said that one should only compose piano music for the C. Bechstein, held his first concert to a coterie of France’s 19th-century aristocracy. Connected in time through the luxurious setting of Chenonceau and the C. Bechstein grand both played, the two French composers speak to the enduring appeal of extravaganza.

Personal tastes played a role too, and we considered artists with a connection to our instruments. Conversations with artists like Koki Nakano and Haiou Zhang helped shape the selection. For instance, the upcoming Bode Museum episode involves Haiou Zhang, who was already involved in fundraising for the museum's restoration. He delved into the classical repertoire amidst the hundreds of masterworks that make up one of the most comprehensive collections of European sculptures. Zhang challenges the museumification of the past, bringing the entire neo-baroque building, also a UNESCO World Heritage, to life with the spirit of the classical music canon. It's a mix of personal favourites, artist connections, and meaningful locations. Involving the artists was crucial, and their enthusiasm for the project made the selection process enjoyable. For the third Monumental film, Koki Nakano’s avant-garde music with the prepared piano meets its match in the atrium of the audacious Guggenheim Museum in Bilbao. Frank Ghery’s landmark monument of titanium lines and curves cradles the fluid movements of the contemporary choreographer, Tess Voelkner who dances to Nakano’s music occupying an ambiguous space both hard and soft.

You've introduced the first three videos, indicating that this series is a long-term endeavor. Could you provide a sneak peek into what audiences can anticipate in future films?

While adding an episode per month might be challenging, we plan to continue exploring unique places globally with talented musicians. In a society in need of cultural unity, we aim to make the series a performance in its own right, establishing it as a concert outlet. Our goal is to create anticipation and establish it as a platform for discovering new museums and artists. The concept remains consistent, featuring exclusive locations, and we hope to convey the magic of being alone in these extraordinary places. The series is ongoing, and we are actively seeking more locations that align with our vision.