The Seasons: A new year-long Tchaikovsky series by Belgian artist Marie François bridging music, poetry and visual art

Belgian concert pianist Marie François is the creative spirit behind a unique contemporary multimedia arts project that is artistically enlivening each month this year.

The Seasons immerses audiences in the 12 piano pieces by Tchaikovsky that were originally performed throughout 1876.

Commemorating their 150th anniversary, this new version features the works by Tchaikovsky, performed by François, alongside 12 new poems by four writers and 12 illustrations by Juliane Noll. The Dutch-language poems are spoken by Koen De Bouw and have been translated into English by David Colmer.

The poems and illustrations are being published each month in Flemish daily De Standaard, The Bulletin and on radio NPO4 in the Netherlands. A link at the end of this article provides access to the musical recordings.

François tells The Bulletin about the inspiration for the innovative project, her fascination for storytelling and her passion for sharing the experience of classical music.

Describe Tchaikovsky’s original 1876 series, as well as your new version?

Tchaikovsky’s The Seasons is a set of twelve short piano pieces, each representing a different month of the year. Interestingly, the project came from a magazine commission. One hundred and fifty years ago there were no recordings, so people could only experience music by playing it themselves. To make it accessible, the magazine asked Tchaikovsky to write a manuscript for each month, which was published alongside a poem.

We wanted to recreate that idea in a modern way — The Seasons 2.0. Each month, new poems by four incredible contemporary poets are published: by Lize Spit and Max Temmerman from Belgium; Ester Naomi Perquin and Joke van Leeuwen from the Netherlands.

Where did the desire to create this storytelling project come from?

I am genuinely fascinated by stories and have a strong need to understand things. Anyone who knows me will tell you that I am constantly asking “why” and that curiosity naturally extends to music. When I study a piece, I don’t just want to learn the notes; I want to understand the composer’s world — the historical and emotional context and the circumstances in which the music was written. I absorb as much as possible so that the knowledge, atmosphere and my own emotional response can shape my interpretation.

We live in a world with an extraordinary number of highly skilled pianists and what distinguishes an artist, I believe, is the ability to think narratively and to create a larger, meaningful whole. I naturally think in terms of storytelling and context, and I care about the connection with the audience — how they listen, experience the music and emotionally enter the world of a piece. Creating a multidisciplinary project allowed me to extend that connection beyond sound alone. It helps open doors for the listener, inviting them to discover this magical world of classical music and to not just to hear the music, but to understand it better. I want the audience to step into a shared universe where music, poetry and visual art reinforce one another and deepen the overall experience.

Describe the journey of this project, from its inspiration to fruition?

The idea came right after I had recorded the complete Nocturnes of Chopin. I had worked on that project for over two and a half years, and after leaving the studio, I found myself sight-reading new repertoire at home that night. I started with “October” from The Seasons and began reading more about the work and its background. I barely slept for three nights because the idea became so vivid in my mind. Two weeks later, I spoke with my friend Max, one of the poets. At that exact moment he was writing a poetry book inspired by the 52 weeks of the year — it felt like it was meant to be.

We began working together and were joined by Vonk&Zonen, a literary organisation based in Antwerp. Together, we refined the concept, contacted the other poets, and collaborated with Grafixx Festival, who introduced us to Juliane Noll, our illustrator. My label, Evil Penguin Classic in Mechelen, oversaw the entire musical production. The project was also made possible in part thanks to the financial support of Mercier Van Lanschot.

What do the other elements of the project add to your performance and the atmosphere of the recitals?

The additional elements are first and foremost a way of envisioning the project as a whole. It also gives me energy. Being a classical pianist can be quite a lonely profession as you spend a lot of time practicing on your own. Exchanging ideas and being inspired by different art forms, really motivates me. On stage, all these elements shape the atmosphere of the concert. It no longer feels like simply playing a recital, but rather like inviting the audience into a shared world. For me, that sense of shared experience is at the very heart of making music.

How would you describe yourself as a pianist?

I’m always a bit cautious when describing my own playing. What I can say is that I try to be sincere at the piano. I’m not interested in virtuosity for its own sake; for me, technique is a tool to tell the story. I care about balance, contrast, silence, energy and musicality, and about creating an atmosphere in which the music can really speak. Above all, I want to communicate. If people feel something, recognise themselves in the music, or leave the concert slightly changed, then I feel I’ve done my job.

Has The Seasons project changed how you approach performing as well as your future ambition?

What I would like to add is that this project reflects on how I want to keep working in the future. I believe in storydoing — not just telling stories, but actively creating them through music, collaboration and shared experiences. I have big ambitions, and I’m not afraid to say that. I hope this project will find a place beyond borders and be able to travel to other countries and audiences. Ambition for me goes hand in hand with curiosity. I’m always open to conversation, to collaboration and to learning — both from other artists and from audiences. Ultimately, my goal is to keep growing, to keep asking questions, and to keep finding new ways to make classical music feel alive, relevant and human.

The Seasons: a literary–musical cycle released each month in print, audio and on streaming platforms. Each month’s illustrated poem is published with a link leading directly to the music (see below). Pianist Marie François will also be performing a series of recitals through the year.

12 months, 12 pieces of music, 12 poems

JANUARY / by the fire

the agreement is that something starts again
a new suspicion in accordance with old rules
we sit around a fire that reduces to ash
balls of newspaper in which harshness
was declared from cushioned, tinsel thrones

we shelter from the wind that blows a blush
into cold cheeks, that blasts from what once
from what perhaps, from loved while it
was hot outside, from how we are
as much stardust as the kitchen cabinet

as the wallpaper in which the eyes of a child
see what they don’t yet get, and look the festive
things for next time round are shy back
on the shelves, the agreement is that
all that yet again will yet again begin again

the nights are leaning out over the days
and underground is crowded from the rooting
piano fingers finally find the higher keys
white tinkling or a greeting from a dunnock
already daring as it is to sing of spring

Joke van Leeuwen
Translated by David Colmer

Listen to this month's audio recording here

Photo: main image ©Bernard Rosenberg