SIMON HAJE: 20 YEARS OLD (GERMANY)
This is Filip Trifu’s copy of “Le Monde Des Adultes” is a work of art itself. I love the inscription reflecting on the “choreography of gestures” in the piece. I also love that he undertood the importance of "transition” in the work, as this is a key compositional aspect to the piece. As the work imperceptibly moves through all twelve key signatures, transitions are indeed a key to unlocking the piece and making it work as convincingly as possible. In is amazing seeing the different approaches that different pianists have towards a score of the same piece of music. Personally, I am more like Simon, in that I love going into a lot of detail visually. I feel that it helps me to learn a piece of by heart, seeing the music from many different perspectives. i also put in all of the fingerings when I work on a score, so I felt this particular score resonated a lot with me.

Additionally, I like the way in which Simon draws lines across the score of music, linking musical elements in different bars of music, sometimes a few bars later. I also like to do this, drawing attention to the various compositional fabric of the piece. He also uses an orange-coloured marker to form a sort of visual representation of the structure of the piece. As well as this orange-coloured marker, one can also notice the use of pencil, as well as red pen and blue pen. I like to imagine him working on the piece in different sessions, deciding on different colours to designate the different musical elements of the work. I feel I could look at this score endlessly and find it quite beautiful.

FILIP TRIFU: 20 YEARS OLD (ROMANIA)
This is Filip Trifu’s copy of “Le Monde Des Adultes”, and there is a very interesting marking in bar 6 of the score. He put “Mama” in the score as the harmonies and musical gesture here felt that this was the appropriate emotion here. In fact, this marking is incredible, as the interval of a descending fourth in integral to the work, compositionally speaking. For me, the inspiration for this key building block in the piece was clear. It comes from the fact that Ravel apparently chose this interval in many of his pieces, inferring the word “Maman” (Mother, in French). It is in lots of his pieces, such as Daphnis et Chloé and Gaspard de la nuit. After hearing this story, any time I hear this interval in his music now, I think of “Maman”. As the piece is dedicated to Ravel, I wished to have the fabric of the music itself as an homage to him. As this motif is key to the work, and Filip seemed to have picked up on this intuitively, it must to have worked.

VALENTIN MAGYAR: 23 YEARS OLD (HUNGARY)
This is Valentin Magyar’s copy of “Le Monde Des Adultes”. I love the purity of Valentin’s approach in his score, which contains just the necessary elements in order for him to be able to play the piece beautifully. What like seeing the text in the score translated into Hungarian and well as just the necessary fingerings here and there, as a contrast to Simon’s score above. It is fascinating how different approaches suit different people. What I particularly like while looking at these scores are the beautifully unexpected details which emerge, such as the markings here in bar 112. This tiny two-note gesture could be brushed past though Valentin seems to have put a lot of thought into how he would like to shape this gesture. These two notes are quite significant in the structure of the piece. These is the sort of details which create really special moments in the music.