Artie’s Festival is a longstanding tradition at the NCPA, a fixture on every Western classical music lover’s calendar in Mumbai. Since 2008, the festival of chamber music has delighted both familiar and first-time audiences, not once but twice a year. It is a musical adventure, a celebration of the intimacy of chamber music and an outcome of meticulous programming. Those who frequent the hallowed halls of the NCPA would know just how deep this collaboration between Artie’s founder Gauthier Herrmann and the NCPA runs. 

An inclusive philosophy 

Dating back to the 17th century, chamber music refers to music once performed by a small ensemble at intimate gatherings in royal courts. Its charm, however, lives on in the contemporary world. At the NCPA, various configurations of Artie’s soloists—duos, trios, quartets and quintets—have enthralled audiences with their high level of musicianship backed by convivial exchanges That said, in at least three editions of the festival, Herrmann has introduced the audience to the Artie’s Chamber Orchestra, an ensemble of 15 musicians performing a concert of symphonic music specially arranged for chamber orchestra. Whether they are permanent members, like Herrmann and his wife and violinist Mathilde, or new additions to the ensemble, the common thread that unites every Artie’s soloist is that they are on a shared mission to spread the art and joy of chamber music in as many countries, communities and cultures as possible.

Music beyond borders 

In France, Herrmann and the Artie’s soloists are in great demand at both bespoke concerts and living room recitals. This summer was, as always, busy. “Summers are a major period in our yearly planning as there are so many festivals. We travel a lot, but mainly in our own country. It’s nice because we get a chance to discover new parts of France and have the opportunity to play our programme several times. A big highlight of the summer of 2024 has been our “Family Programme” of which Mathilde and our two daughters were also a part. It was a new festival in the centre of France in an old volcanic region called Auvergne which has a fantastic landscape and beautiful trails.”

For the last two decades, Herrmann and his collective of musicians have crossed many a shore, far beyond France and Europe at large. They have performed in countries not traditionally associated with Western classical music like Bahrain, Kuwait and Saudi Arabia. “It’s our mission to make chamber music more accessible. Playing in those places where the genre is not well-known can be a challenge at times because the audience doesn’t know the codes. But I can tell you that Mozart or Beethoven are clearly very easy to access. In my opinion, music is the most accessible art, perhaps easier to understand than painting or sculptures. It is made up of vibrations and these speak to every human being at a deep level. In India, for example, we have played masterpieces by Schubert, Brahms and Mozart in slums, orphanages, universities and concert venues alike, and every time, people have listened intently,” he says. “We play in the GCC [Gulf Cooperation Council] countries every year. But it is more difficult to programme big works like symphonies of Mahler or Bruckner there and so we tend to go with shorter pieces. One of the most interesting countries is Saudi Arabia where music was forbidden till 2018. People are so greedy for it now!” 

The India connection 

Herrmann has been visiting India twice, often thrice, a year, for over a decade now—to perform with his Artie’s ensemble not only at the NCPA, but also in other Indian cities and in outreach programmes in deprived areas. Herrmann’s connection to India goes back to a time long before the existence of Artie’s Festival. It was during his first trip to India as a young solo cellist back in 2001 that Western classical music lovers and promoters Binaifer Malegam and Jehangir Batiwala from the Poona Music Society introduced him to NCPA Chairman Mr. Khushroo N. Suntook. “The Artie’s project was created in India and the NCPA is our main and oldest partner worldwide since 2008. It’s rare to have such a faithful relationship with a concert venue, and I really want to thank the NCPA team and especially my dear friend Khushroo for hosting Artie’s Festival for nearly half of my professional life.” says Herrmann. 

Over the course of his many visits to the country, Herrmann has observed that Indians are keen on immersing themselves in the arts. “I must say that there are many Indians who know their Western classical music.” By now, Herrmann is accustomed to playing for Indian audiences, especially in Mumbai, where it almost feels like he knows the audience and vice versa. “When people take their seats, they know what to expect. [The atmosphere] is always joyful and energetic. We try to make our concerts lively so that everyone in the audience, whether a first-timer or regular, feels comfortable with their listening experience. Even kids and teenagers tend to have a great time.”

A novel programme 

Ahead of every edition of Artie’s Festival, Herrmann works in tandem with Mr. Suntook to devise an exciting programme. The repertoire now spans over 160 different works, ranging from well-known masterpieces by Mozart, Beethoven and Schubert to lesser-known works by French composers Francis Poulenc and Hyacinthe Jadin, Czech composer Bohuslav Martinů and Spanish composer Fernando Obradors. “It’s really fun for me to spend time with Khushroo in his office, listening to marvellous pieces that only he knows of! I’m supposed to be the artiste, but most often, he’s the one who leads me to discover new works. He is just unbeatable,” says Herrmann. 

Over the course of two evenings, the 28th edition will see several new works that have never been heard at the festival before. There’s an Elgar piano quintet, the second movement of which Herrmann is particularly fond of. The audience will also be privy to a Mozart piano concerto. By this point, those familiar with the festival will know of Herrmann’s passion for Beethoven. “He is my king, my everything. I feel so good playing and listening to his works. I feel that his language is my language. I’m looking forward to the Razumovsky quartet [Beethoven’s String Quartet No. 7].”

To date, at least 60 artistes have travelled to India for the festival. This time around, the Artie’s will comprise a collective of six soloists. There will be familiar faces like French classical pianist Romaine Descharmes, who has played at six editions of Artie’s Festival, Violaine Despeyroux on viola who will be visiting for the second time, and of course, Herrmann, who is an exceptional cellist. It will be a first for violinist Nathan Mierdl, who was appointed concertmaster with the Orchestre Philharmonique de Radio France in 2023, and for violist Clémence Dupuy who is a part of the orchestra. This edition will also welcome violinist and concertmaster of the Orchestre des Pays de Savoie, Emma Gibout. “Nathan is just 26 years old and is already a name on everyone’s lips in France for the last four or five years. He has won so many competitions. Clémence is an excellent member for our Artie’s team with her immense talent on the viola. Violinist Emma comes with virtuosity and great ears. They are wonderful chamber musicians and great people to work and travel with,” says Herrmann. 

As this tightly knit ensemble arrives in Mumbai to present an innovative programme this November, there will be performances, and a sense of connection with the audience that the Artie’s is known for. With these musicians, brought together by their love for chamber music, travel and discovering new places, one can always expect to leave on a light note, thanks to their easy-going approach to masterful presentations of both familiar fare and never-played-before works.