Juliette Granier Calva had been initiated to piano at the age of 3. She learned piano before to know how to read.
 

Six years later, she performed the whole Mozart G major Concerto with the CNR Orchestra. 

 

Once she had 12 year's old, Juliette gave her first solo recitals  followed a few weeks later by the Chopin 1st  Concerto (as a soloist) with the same orchestra, in a tour in Spain and France. She had been then invited to play in many countries in Europe.

Aged 15, she obtained the Gold Medal of Piano, and Chamber Music, highly approved by Gérard Gastinel, the composer of the piece she had to perform, whom, attending the contest, gave a standing ovation to her interpretation of his piece.

This year was also dedicated to Ravel’s G major Concerto, which she played on tour both in Spain and France.

She entered to Superior Conservatory of Paris, CNR, in the class of Olivier Gardon, and also had Eric le Sage and Paul Meyer as chamber music teachers. She obtained the first prize received in all subjects.

 

After having heard a recital of Dominique Weber, (Leon Fleisher ex-assistant, he transmetted her the musical heritage of Vercelli and Schnabel) she decided to study with him in Geneva High School. In his class, she obtained the Teaching Bachelor, Chamber Music Master, and Piano Master. She also obtained a diploma in Improvisation, and the very exclusive and rare Brolliet Prize, which rewards the particular accomplishment of a student to work on and obtain several diplomas at the same time.

 

She also attended Gyorgy Sebok master classes. Charles Rosen, Piotr Anderszewski, Denis Pascal, Jacques Rouvier, Pascal Devoyon and Petruchansky from Moscow Conservatory also taught her randomly.

 

As she just finished her scholarship, she met with her first sponsor, Louis Philippe de Souza, who supported her during one year and produced her first CD, (DINEMEC) including Schumann’s Kreisleriana and Brahms Variations on a Schumann’s theme.

 

Never stopping to play as a soloist since her youngest times, her latest appearences in chamber music are with friends, Terpsycordes Quartet, Rachel Kolly d'Alba, Cédric Pescia, and Helmut Deutsch.As Swiss resident, she gives recitals in Gstaad New Year Festival, Lavaux Classic Festival, Grand Théâtre de Genève.
 

RESMUSICA, published an extensive portrait and interview with her, as the next young artist to discover. WEBTHEA magazine interviewed her generously about her work and involvment in the musical world.

 

2011: She is the artistic director of Piano au Palais, festival she initiated with Musique Esperance (Association  leaded by Miguel Angel Estrella) which is a night around pianists. It happened in Albi, Unesco Classified City. Zhu Xiao Mei and Cedric Pescia were invited to play in the event.

 

In 2012, she had been chosen -and the youngest-  by the Conseil Général of Pyrenées Orientales among 66 women for being representative of the ones who had leave a mark on the history of French Catalunya. Both exposure and book are realised on this event. 

In 2013, she was invited to French Polynesia, for a tour and master classes to the students of Conservatory of Papeete, in the Musique en Polynésie Festival


The programme Passion Slave (including Prokofiev's Romeo et Juliette ) that she played on her Recital in CULLY CLASSIQUE is filmed and available on MMEDIA TV.

In 2014, she records Frédéric Chopin works, including Ballades, Impromptus, and Studies, at Studio de La Fonderie, with the sound ingeneer Florian Pittet and the craft art of Matthias Maurer (Piano Workshop.)


She is now mainly pursuing her role as composer and player of her owns compositions, for french-song works, recording her first album with Florian Pittet as producer.

 

Juliette's vivid and warm playing, sometimes crossed by sort of black light, is belonging to her Spanish culture where music and dance are closely existing. Critics point out her strongly rythmical play , in a indomitable character, moving from sweet sorrow to outbreak of energy. Juliette feels related to earth and sky, from the visceral feeling of rythm and harmonies to lightful and virtual architecture of the music.

Juliette doesn't think the harmony or rythm have to be opposed as one more important than the other. She's oustandingly easy with the comprehension of harmonics leading and possesses the hability to play anything by hearing it, also she does improvise and compose. She is however  feeling the rythm passing through his body as a first place component of the musical phenomenon. 

Her conception of playing makes matching the sense of architecture in which every point is related to the whole musical piece, the deep inner sense of the colour in the sound (also we can point the fact she's one of the rare musicians exploring their own synesthesia as part of themselves ) and a natural playing transcending the art of musical detail. 

 

Collaborations:
Quatuor Terpsycordes, Cédric Pescia, Rachel Kolly d'Alba, Antoine Marguier, Camille Thomas, Helmut Deutsch, Florian Pittet, Daniel Tosi, Diego Tosi, Jacques Roman, Alix Noble