Gramophone Editor's Choice/ February 2026
"I almost began here by expressing my surprise that no one had previously thought of pairing the respective violin sonatas of Maurice Ravel (1875-1937) and Mel Bonis (1858-1937) on a recording, given how naturally Ravel and Bonis sit together as compatriots, contemporaries and fellow lovers of magical faraway worlds – and then I remembered how few of us had even heard of Bonis, a César Franck pupil, as recently as five years ago. But how times can change in the blink of an eye! For here we are now not only in an increasingly Bonis-aware world, but also one in which exists this highly accomplished and impassioned pairing of her sonata with that of Ravel.
This is Clémence de Forceville’s first solo album, but she isn’t entirely new to Gramophone’s pages, thanks to having been first violinist of Trio Sōra when it released its well-received Beethoven trios triple album (Naïve, 12/20). Since leaving the trio to pursue a solo career, she has held prestigious concertmaster posts with ensembles including the Orchestre de Chambre de Paris, and now performs with artists such as Renaud Capuçon and Anna Fedorova, while receiving advice from the likes of Daniel Barenboim. In other words, we shouldn’t be surprised to find such assurance and high technical finesse here; and similarly for pianist Ismaël Margain, a 2012 Long-Thibaud Competition prizewinner who has been well reviewed in these pages as a soloist recording with Naïve (5/23).
The two of them make wonderful work of Bonis’s Sonata, a four-movement beauty, dated around 1914, full of rapturously lyrical, lushly textured romanticism and chromaticism-rich, occasionally eastern-flecked harmonies. De Forceville plays with silkily silvery, songful flow and sweetness, and a firm handle on its long phrases regardless of how capriciously bitty the violin lines sometimes are within. Margain too. Theirs is a reading delivering in spades both on broad conception and on colouristic and partnering intricacy.
The balance between violin and piano feels just right too, and captured with a very attractive, silvery-bright clarity and immediacy. Perhaps some listeners might find this brightness on the edge of too intense. Certainly that’s slightly where I’ve been with the Ravel, but only very slightly, and melded with admiring enjoyment. Plus, it works brilliantly well for their concluding Ravel Tzigane – a non-crazy-fast yet panache-filled reading over which I’ve loved the sleek metallic swish and glow of de Forceville’s double-stops and harmonics. Then for a front bookend there’s Margain’s own duo arrangement of Bonis’s mystically rippling, gliding Phoebé, originally for solo piano, whose closing quiet interrupted cadence acts as a perfect overture from which to tip into her sonata’s softly searching opening bars.
Truly, chapeau to de Forceville and Margain. Perhaps other Ravel and Bonis pairings will follow, but with this catalogue-expanding piece of simple yet harmonious programming, they set the bar deliciously high."
- Gramophone Magazine / Charlotte Gardner
" Violinist Clémence de Forceville and pianist Ismaël Margain weave connections between the two composers throughout the program of this recording.
The program is built around Ravel’s Sonata in G major and Tzigane, alongside Phœbé (in an arrangement for violin and piano by Ismaël Margain) and the Sonata in F-sharp minor by Bonis.
Without necessarily speaking of a mirror effect between the works, the entire disc is permeated by a shared era, a sense of modernity, a slightly mysterious light, boldness both in tonal and rhythmic terms, a taste for narrative, stylistic mastery, and a strong musical personality.
Mel Bonis’s compositions do not pale in comparison with those of Maurice Ravel and fully deserve to be “associated” with them.
The two musicians work together in perfect harmony, investing themselves wholeheartedly in this repertoire. Their command of nuance, phrasing, and dynamics allows the music to unfold fully. "
- Froggy's Delight/ Jérôme Gill
Translated from french
" Maurice Ravel (1875–1937), a major figure of refined modernism, and Mel Bonis (1858–1937), long kept in the shadows despite a rich and inspired body of work, are featured on this CD with Ravel’s Violin Sonata in G major and Tzigane, as well as the Violin Sonata in F-sharp minor, Op. 112, and Phœbé, Op. 30, arranged for violin and piano by Ismaël Margain, by the French composer. The alternation between these two worlds invites the listener to rediscover a history of French music that is richer and more diverse than textbooks have long suggested.
The two performers, Clémence de Forceville (born 1991) and Ismaël Margain (born 1992), embody a new generation of French musicians who combine virtuosity and curiosity. Trained in Paris with Olivier Charlier and then in Germany with Antje Weithaas and Mihaela Martin, violinist Clémence de Forceville distinguished herself very early through international prizes and an international career as a soloist and chamber musician. Her incisive and singing playing highlights Ravel’s virtuosity while allowing the romantic fervor of Bonis to blossom.
Ismaël Margain, a pianist from Sarlat, came to prominence at the Long-Thibaud Competition in 2012 and was named “Instrumental Soloist Revelation” at the Victoires de la Musique Classique. Trained at the Paris Conservatoire with Nicholas Angelich, Roger Muraro, and Michel Dalberto, he pursues an eclectic career combining recitals, concertos, and recording projects. By bringing together the two composers mentioned, this recording underscores the need to rehabilitate forgotten figures not by isolating them, but by placing them within a living dialogue with the great names of the repertoire. In this way, music regains its dimension as a shared heritage, in which every voice, celebrated or little known, contributes to the brilliance of the whole."
Opus Haute Définition E-magazine/ Jean-Jacques Millo
Translated from french
Disque classique du jour: https://www.radiofrance.fr/francemusique/podcasts/le-disque-classique-du-jour/maurice-ravel-mel-bonis-sonates-pour-violon-clemence-de-forceville-ismael-margain-6844825
Emilie Munera/ Rodolphe Bruneau-Boulmier
"After François Sochard’s impressive achievement with Paganini (NoMad), the other concertmaster of the OCL releases his own album. Clémence de Forceville teams up with pianist Ismaël Margain for this project. More and more, Mel Bonis is gaining the recognition she truly deserves as a composer. At first glance, Mel Bonis and Ravel don’t seem to have much in common, apart from the era in which they lived. However, by bringing these two worlds together, Clémence de Forceville uncovers their hidden connection: melodic power, refinement, a taste for the exotic and for legends, and the smoldering fire beneath the contained expressiveness. The duo perfectly embraces the intensity and virtuosity of these works, allowing us to rediscover not one, but two geniuses. The Lento of Mel Bonis’ Sonata is a pure delight."
- 24 heures/ Matthieu Chenal, Nicolas Poinsot
Translated from french
Orchestre de Chambre de Lausanne appoints new concertmaster
"French violinist Clémence De Forceville has been appointed as the first concertmaster of the Orchestre de Chambre de Lausanne (OCL) in Switzerland, following a successful trial period. She will assume the role in March 2024.
‘We wish her lots of happiness and lots of great moments within our orchestra,’ OCL released in a statement.
De Forceville studied at the Conservatoire National Supérieur de Musique et de Danse in Paris with Olivier Charlier, where she has since taught as Philippe Graffin’s assistant since 2021, and continued her studies in Germany with Antje Weithaas and Mihaela Martin.
As a soloist, she has performed with orchestras including the Baden-Baden Philharmonic Orchestra, the Portuguese Philharmonic Orchestra, the New Europe Orchestra, the Südwestphalia Philharmonic Orchestra, and the Catalan Chamber Orchestra.
As an ensemble player, De Forceville has performed with the Paris Chamber Orchestra, Lille National Orchestra, Berlin Philharmonic Orchestra, Pierre Boulez Ensemble, as well as the Hieronymus String Quartet and Sōra Trio.
She plays on a 1777 violin by Lorenzo Storioni, on loan from the Boubo-Music Foundation.
‘So happy to be appointed first concertmaster of the Orchestre Chambre Lausanne,’ De Forceville released in a statement on social media. ‘A huge thank you to all my colleagues for their support and trust, it is a great joy and an honour to join such a wonderful group of musicians.’
-The Strad news
Creation of "Partita and Saeta" by Juan Arroyo
"Partita and Saeta by Juan Arroyo (...) The ensemble, very virtuoso, superbly interpreted by Clémence de Forceville, sweeps through the whole tessitura of the violin in a perfectly structured progression, revisiting in particular the harmonics - a tribute to Sciarrino's Capricci? - the bariolage alla Vivaldi."
-Diapasonmag.fr
Translated from French
Last work on the program of this concert: Beethoven's Symphony No. 4 op.60. A contemporary of the Violin Concerto opus 61, dating from the same period (1806). In this Symphony No. 4, Beethoven deploys a radiant serenity that is unusual for a composer who sometimes expresses himself with harshness, both in the symphonic and chamber music domains.
One can only endorse François-Frédéric Guy's conception of Mozart as well as Aurélien Dumont's Concerto No. 1. As for Beethoven's Symphony No. 4, conducted from the violin by the violinist Clémence de Forceville, she clearly indicates that her nervous, gripping, electrifying interpretation is unquestionably in the tradition of Nikolaus Harnoncourt.
François-Frédéric Guy and Clémence de Forceville are to be admired, both taking the Orchestre de chambre de Paris to fabulous heights.
-ON-mag.fr/ Michel Jakubowicz
Translated from french
BNN: Mendelssohn's violin concerto
The soloist of the evening, the young French violinist Clémence de Forceville, has mastered the whole range of different forms of expression required by Mendelssohn's violin concerto, she can bathe in brilliant sounds, she can show off her virtuosity in a lively and spirited manner, but she fascinates the audience even more when she softly breathes lyrical passages with precision. Her angelic, floating sounds were beautiful enough to melt away. In harsh contrast, the temperamental final movement was lively, sparkling and thrilling. The violinist thanked the enthusiastic applause with the Sarabande from the Sonata for Solo Violin in D minor by Johann Sebastian Bach, which, significantly, was again a highly sensitively played slow movement.
- BNN/ Karl-Heinz Fischer
Translated from german
"Auch die Solistin des Abends, die Junge Französische Geigerin Clémence de Forceville beherrscht zwar die ganze Bandbreiter unterschiedlicher Ausdrucksformen, wie sie das Violin Konzert von Mendelssohn erfordert, sie kann in fulminanten Klängen baden, kann quirlig und voller Temperament ihre Spieltechnische Virtuosität zur Geltung bringen, noch mehr aber fasziniert sie das Publikum, wenn sie lyrische Passagen leise und mit Präzision dahinhaucht. Ihre engelhardt schwebenden Klänge waren zum Dahinschmelzen schön. In hartem Kontrast dazu kam der Temperamentvolle Schlusssatz spritzig, prickelnd und mitreißend. Für den begeisterten Beifall bedankte sich die Geigerin mit der Sarabande aus der Sonate für Violine Solo D-moll von Johann Sebastian Bach, bezeichnenderweise auch wieder ein höchst sensibel gespielter langsamer Satz."
- BNN/ Karl-Heinz Fischer
Interview La Lettre du Musicien
"The work of the chamber orchestra is organic"
Clémence de Forceville has just won the solo violin competition of the Orchestre de chambre de Paris. She talks to La Lettre du Musicien about her departure from the Sōra Trio and her desire to diversify.
Last May, you left the Sōra Trio, of which you had been a member since 2019. Why did you take this decision?
The trio was an extraordinary experience. We recorded a triple album, carried out extremely thorough research, especially around Beethoven, etc. But it demanded a total commitment, 80 to 100% of my time. Before joining the trio, I was doing solo concerts, string quartet, solo violin... This was exclusive. But I felt that I needed variety, that, from an artistic point of view, I was no longer satisfied. It's important in chamber music that everyone looks in the same direction and that was no longer the case. And I am delighted that my two former partners have found Amanda Favier.
You will join the Paris Chamber Orchestra in January 2022. Why did you aim for this position?
The job of concertmaster appeals to me because it offers a very wide variety of repertoire. In addition, Lars Vogt is someone I admire enormously, as is the Orchestre de chambre de Paris. Working with them will undoubtedly be very rewarding. And, unlike the trio, it's not a full-time job. Even though this job will require a lot of commitment, it will give me the possibility to go and feed myself elsewhere. On the other hand, in a chamber orchestra, the violinist has a leadership position. Sometimes, he or she has to "play/lead": he or she occupies the role of the conductor but in a more intimate sphere. In the end, it's very similar to chamber music: it's very organic, there's total listening between the musicians. For this, my previous experiences, whether with the trio or the string quartet, will be very beneficial to me.
Your experiences since May have enabled you to prepare your return to the orchestra...
I left the trio at the time when cultural venues started to open. At that time, there was a kind of effervescence. When I left, I was afraid I would be unemployed, but in reality I quickly returned to the life I had before. I played as concertmaster with the Orchestre des Pays de Savoie, in festivals and as a soloist with the Baden-Baden orchestra. It was a huge breath of fresh air after years of chamber music. It gave me a lot of freedom and allowed me to play in settings that corresponded to what is asked of us in competitions: I got used to the power of the orchestra again. Indeed, with the trio, we don't have a whole ensemble behind our ears. It's a more intimate form that doesn't require the same projection.
https://lalettredumusicien.fr/article/-le-travail-de-lorchestre-de-chambre-est-organique-7213
Badisches Tagblatt: Mendelssohn's violin concerto
"The commitment of the young and promising French violinist Clémence de Forceville proves to be another asset of the evening: Felix Mendelssohn's Concerto in E minor, with its three movements that merge into each other, demands technique and tonal finish, but also expressiveness and variability of timbral colours. In addition to her talents as a soloist, the violinist has extensive experience as a chamber musician, which audibly benefits her vision of the E minor concerto. As radiant as her Lorenzo Storioni violin from 1777 may fill the hall, here the emphasis is not only on power. The elegance of her playing characterises the interpretation, and the unaffected precision even in the small values of the notes, the warmth of her tone that brings out the brilliance of the concerto, which Clémence de Forceville performs with great verve but always with a playful elegance, captures the essence of the composition. Here the philharmonic orchestra, with its beautifully sounding soloists, is invited by Förster to provide concentrated accompaniment with a sense of tempo variation. As an encore, the violinist plays a movement from a sonata for solo violin by Johann Sebastian Bach: concentrated in expression, interiorised, almost detached from the world.
- Thomas Weiss/ Badisches Tagblatt
Translated from german
"Die Verpflichtung der jungen, aufstrebenden französischen Geigerin Clémence de Forceville erweist sich als ein weiteres Pluspunkt des Abends: Felix Mendelssohn e-moll Konzert mit seinem drei ineinander übergehenden Sätzen erfordert Technik und klanglichen Feinschliff, aber auch Ausdruckskraft und Variabilität der Klangfarben. Die Geigerin verfügt neben ihrer solistischen Klasse über viel Erfahrung als Kammermusikerin, was ihrer Sicht auf das e-moll Konzert hörbar zugute kommt. So strahlend ihre Violine von Lorenzo Storioni von 1777 den Saal auch füllen mag, hier wird nicht nur auf Wucht gesetzt. Die Eleganz ihre Spiels prägt die Interpretation, die unaufgeregte Präzision auch in kleinen Notenwerten, die Wärme ihrer Tongebung, das Strahlende des Konzerts, das Forceville mit viel Elan aber stets spielerischer Eleganz verwirklicht, trifft das Wesen des Komposition. Wobei die Philharmonie mit ihren klang-schönen Hochbläser Solistinnen von Förster zur konzentrierten Begleitung mit Sinn für Tempo Variationen angehalten wird. Als Kontrast spielt die Geigerin einen zugegebenen Satz aus einer Solosonate von Johann Sebastian Bach, Konzentriert im Ausdruck, verinnerlicht, fast weltabgewandt"
- Thomas Weiss/ Badisches Tagblatt