- French music of the 19th-20th centuries
- Romantic music
- Contemporary music
- Instrumental chamber music (especially the repertoire for piano trio) and vocal music (melody and Lied accompaniment)
His career as a performer has led him to collaborate with several great contemporary composers, including Thierry Escaich, Guy Sacre, Édith Canat de Chizy…
Passionate about chamber music, Honoré Béjin is a member of the Trio des Aulnes (with Jean-François Corvaisier and Laurent Lagarde); he has also had the opportunity to share the stage with artists such as the violinist Agnès Sulem, the flutist Michel Moraguès, the baritone Jean-François Rouchon?
He was heard on France 3 (as part of the program “Un été avec Chopin”) as well as on France Musique and France Culture. In 2017 he releases his first CD (“Deux Américaines à Paris : Un demi-siècle d’amitié musicale franco-américaine”).
He continued his piano training in contact with personalities such as Dominique Merlet, Noël Lee, Éric Heidsieck. Parallel to his musical studies, he completed two years of literary preparatory classes (Hypokhâgne and Khâgne, Classical Letters).
First Prize at the Steinway Competition in Paris in 2001, First Prize at the San Sebastian Competition (Spain) in 2006, Grand Prize at the Collioure Competition in 2009 (and Prize for the best interpretation of Bruno Mantovani’s imposed contemporary work, awarded by the composer), he is also a laureate of the Flame and Piano Campus competitions.
Holder of the Certificat d’Aptitude de Aptitude de professeur de piano, Honoré Béjin taught for several years at the Jean-Philippe Rameau Conservatory in Paris, while being an accompanying pianist at the CRR in Paris. He is currently a piano teacher at the CRR of Cergy-Pontoise. Frequently invited as a member of competition juries, he regularly gives master classes in France and abroad, notably in Japan.
Whatever your level (intermediate or advanced), whatever the rhythm of your lessons (occasional lessons; regular lessons to mark out a progression, or to work on a competition programme), it will be a pleasure for me to answer your questions, and to give you the necessary tools to blossom in your art, and to reach your musical and instrumental objectives.
Listening is, in my opinion, one of the keys to musical performance. From this stems the ability to control the sounds of the piano, with finesse and subtlety. The work on sound has as a corollary the search for an adequate relationship with the instrument, by means of a flexible and natural technique. In my teaching, I pay great attention to the gesture and the quality of the touch, on which the quality of the sound depends.