Jonathan Fournel looks back on Piano 2021
22/05/2025
What memories do you have of your experience at the Queen Elisabeth Competition?
I carry with me unforgettable memories of a moment in my life that I will never forget. The Queen Elisabeth Competition transformed my life overnight, and for that, I can only be grateful. It was a unique experience: one that allowed me to grow tremendously and push myself even further.
How did you feel as you progressed from one round to the next?
When I began playing the first notes of the Mozart sonata, I was both terrified and awestruck to be standing on that stage in front of such a prestigious jury. The pressure was even greater than what I had anticipated, and I did everything I could to rise above it. I reminded myself that no matter what happened, I had never grown as much as I did during the preparation for this competition. All those months of hard work and the guidance from my dear professors Gisèle Magnan, Louis Lortie, and Avedis Kouyoumdjian, along with the precious support of Augustin Dumay, marked a true turning point in my life.
You were an artist-in-residence at the Queen Elisabeth Music Chapel. How did you experience your week of preparation for the final at this place you know so well?
It felt like coming home, returning to a place that has been so familiar to me for several years. Yet, this time, it had a different flavor as I wasn’t there for the same reasons. It was quite a unique experience to be in quarantine in one part of the Chapel, unable to speak with friends who were just a few meters away. However, there was a wonderful atmosphere among us on our side, and we shared something truly indescribable.
How was your preparation for the Competition affected by the COVID crisis?
The inability to perform in concert halls and share musical moments with a live audience was the greatest challenge in preparing for the competition. Playing music in an empty hall is a very particular experience, but as candidates, we knew the circumstances would be exceptional and it turned out to be a constructive and valuable experience despite it all.
In what way does this Competition stand out from others?
Throughout my life, I have heard so many people encouraging me to take part in the Queen Elisabeth Competition, often referring to it as the greatest piano competition in the world: it was an immense joy to be accepted as a candidate. Winning First Prize one day had always seemed out of reach to me, especially given the Competition’s prestige and its ability to attract so many exceptional musicians from around the globe.
What makes this competition truly unique is its format: particularly with the final round, and the included residency at the Music Chapel, a calm and focused isolation to learn the imposed work. As someone who has always loved sight-reading, this was a challenge that genuinely excited me. To find myself among the great names who have taken part in this
competition like Emil Gilels, Lazar Berman, Frank Braley, Youri Egorov, and Brigitte Engerer, who was my teacher, is an incredible honour.
What was your feeling when you won First Prize at the Competition? How did you feel afterward?
It was one of the most emotionally intense moments of my life. I felt both relieved and incredibly happy: I couldn’t have dreamed of a better outcome. After nearly a month of competition, it marked the end of an extraordinary journey. It took some time for the reality to truly sink in, but once it did, it gave me tremendous motivation in my work and in my new goals.
What are your hopes and aspirations for the future?
I hope to have the chance to fulfill many more dreams, to record and perform the works I’ve always longed to interpret, and to continue sharing what I love wherever possible.
In May 2021, Jonathan Fournel won the Piano Competition in very peculiar circumstances. Because of the pandemic, the session took place under extremely strict precautions and without an audience. Four years later, he looks back on this life-changing experience.
What memories do you have of your experience at the Queen Elisabeth Competition?
I carry with me unforgettable memories of a moment in my life that I will never forget. The Queen Elisabeth Competition transformed my life overnight, and for that, I can only be grateful. It was a unique experience: one that allowed me to grow tremendously and push myself even further.
How did you feel as you progressed from one round to the next?
When I began playing the first notes of the Mozart sonata, I was both terrified and awestruck to be standing on that stage in front of such a prestigious jury. The pressure was even greater than what I had anticipated, and I did everything I could to rise above it. I reminded myself that no matter what happened, I had never grown as much as I did during the preparation for this competition. All those months of hard work and the guidance from my dear professors Gisèle Magnan, Louis Lortie, and Avedis Kouyoumdjian, along with the precious support of Augustin Dumay, marked a true turning point in my life.
You were an artist-in-residence at the Queen Elisabeth Music Chapel. How did you experience your week of preparation for the final at this place you know so well?
It felt like coming home, returning to a place that has been so familiar to me for several years. Yet, this time, it had a different flavor as I wasn’t there for the same reasons. It was quite a unique experience to be in quarantine in one part of the Chapel, unable to speak with friends who were just a few meters away. However, there was a wonderful atmosphere among us on our side, and we shared something truly indescribable.
How was your preparation for the Competition affected by the COVID crisis?
The inability to perform in concert halls and share musical moments with a live audience was the greatest challenge in preparing for the competition. Playing music in an empty hall is a very particular experience, but as candidates, we knew the circumstances would be exceptional and it turned out to be a constructive and valuable experience despite it all.
In what way does this Competition stand out from others?
Throughout my life, I have heard so many people encouraging me to take part in the Queen Elisabeth Competition, often referring to it as the greatest piano competition in the world: it was an immense joy to be accepted as a candidate. Winning First Prize one day had always seemed out of reach to me, especially given the Competition’s prestige and its ability to attract so many exceptional musicians from around the globe.
What makes this competition truly unique is its format: particularly with the final round, and the included residency at the Music Chapel, a calm and focused isolation to learn the imposed work. As someone who has always loved sight-reading, this was a challenge that genuinely excited me. To find myself among the great names who have taken part in this
competition like Emil Gilels, Lazar Berman, Frank Braley, Youri Egorov, and Brigitte Engerer, who was my teacher, is an incredible honour.
What was your feeling when you won First Prize at the Competition? How did you feel afterward?
It was one of the most emotionally intense moments of my life. I felt both relieved and incredibly happy: I couldn’t have dreamed of a better outcome. After nearly a month of competition, it marked the end of an extraordinary journey. It took some time for the reality to truly sink in, but once it did, it gave me tremendous motivation in my work and in my new goals.
What are your hopes and aspirations for the future?
I hope to have the chance to fulfill many more dreams, to record and perform the works I’ve always longed to interpret, and to continue sharing what I love wherever possible.
