Emmanuel Pahud
is a world-renowned flute player. He was on born January 27, 1970 in Geneva, Switzerland. His father is of French and Swiss background and his mother is French. The Berlin-based Flautist [1] is most famously known for his Baroque and Classical flute repertory.
Born into an non-musical family, [2] as a young boy living in Italy; the sounds of the flute captivated Pahud.
His versatility in music styles over the years has “signalled the arrival of a new master flautist.” (The Guardian). [4] Regardless of the music genre or repertoire, either it being baroque, jazz, contemporary music, classical, orchestral, soloist, chamber music, or simply just the musical technique [5]- for Pahud, all those musical forms personifies the musician and the person he is today
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Biography
Early Life
Travelling has been a big part of Emmanuel Pahud's life from birth. The work his father did for a U.S. company was the reason they continuously moved throughout the years.
[6] However, this would only shape Pahud's international outlook for his future.
Only six weeks after Pahud was born, his parents moved to
Baghdad for one year. They moved again when he was the age of one to
Paris where Emmanuel's younger brother was born. In 1972, they then moved to
Madrid,
Spain for two years and in 1974, finally settling in
Rome,
Italy close to the
Piazza del Popolo for the next four years. In their apartment building in Rome, lived the Swiss-French
Binet
family whose four children played musical instruments. The father (François) was a flautist who studied in
Zurich and Paris but stopped performing in later years. At the age of four, Pahud first heard the flute. As the eldest son Philippe played the
Flute Concerto No. 1 (Mozart) K.313 in G Major,
it set the course to a remarkable chapter of Pahud's life.
He recalls:
I could hear the flute, the violin, the cello, the piano. I don't know why I chose the flute but maybe it was because the eldest son was playing it, so he was the one playing at the best level at that time - or because the father was also a flute player, so there was a kind of authority there. Anyhow, I said to my parents, "I want to play the flute, I want to play the Mozart concerto that guy next door is practicing."
That Christmas, after receiving his first flute, Pahud began his first year of lessons with Philippe (who was only 15 years old) and the next three years with Phillipe's father, François.
[7]
In 1978, at the age of eight, the Pahud family moved to
Brussels,
Belgium. Emmanuel then began studying at the
Music Academy of Uccle
in Southern Brussels.
[8] There he studied with Michel Moinil from 1979-1985.
As he became more determined and focused on playing the flute at a higher level; Pahud began to study from 1984-87
with Carlos Bruneel, the then and current principal flautist of the
Théâtre Royal de la Monnaie opera house in Brussels. In 1985, Pahud won the National Competition of Belgium (
le concours National de Belgique
)
[9] and in the same year, he played his first concert with the
National Orchestra of Belgium, performing the piece that inspired him 11 years earlier: Mozart Concerto K.313 in G Major.
Pahud remained in Brussels until receiving his A-Level at the age of 17 and went off to finish his schooling in Paris. With the strong support of his family, he also received lessons with other of Europe's finest players, including
Peter-Lukas Graf in
Basel.
Studies and early accomplishments
Pahud attended the Conservatoire de Paris (
Conservatoire National Supérieur de Musique de Paris
) in
France, studying with
Michel Debost, Alain Marion, Pierre Artaud, and Christian Larde. Whilst studying, he won two major competitions, one in
Duino 1988 and the other in
Kobe [10] in 1989. In 1988, Emmanuel also won the 2nd Prize at the International Scheveningen Music Competition in
Scheveningen,
Netherlands.
Winning these competitions put Pahud in the forefront to become principal flautist in the Basel Radio Symphony, under the direction of
Nello Santi which he obtained the position in 1989 whilst finishing his studies in Paris. He resigned from the orchestra in 1992.
Pahud also held the prinicipal flautist position at the
Munich Philharmonic under
Sergiu Celibidache.
Pahud graduated at the age of 20 from the Conservatoire in 1990, obtaining the First Prize (Premier Prix). He then continued to advance his studies for the next two years; in style and interpretation with one of France's greatest flautists, Swiss-born Aurèle Nicolet who turned out to be his neighbour.
[11] In 1992, Nicolet prepared Pahud in an extensive 10 day rehearsal for both the
Geneva International Music Competition, or le Concours International de Genève in September of that year and the audition for principal flautist of the Berlin Philharmonic Orchestra (BPO) in October.
He acknowledges achieving both the first prize at le Concours International de Genève and being appointed for the position at the age of 22 by BPO's conductor,
Claudio Abbado to his experience with Nicolet.
Personal Life
Pahud has two sons, Grégoire and his younger brother Tristan from a former marriage.
Career
Berlin Philharmonic Orchestra
Being appointed as principal flautist at the BPO signalled Pahud's entrance into the international spotlight. He entered the orchestra during its rejuvenation period as the post-war generation of players began to retire.
Over 40%, including Pahud's position was up for audition, or on trial. His predecessor was
Karlheinz Zöller (1960-69, 1976-93).
Apart from Pahud, other previous international flautists held the same prinicipal flautist position such as Aurèle Nicolet (1950-59)
[12] and
Sir James Galway (1969-75).
As many international musicians filled these positions; Pahud found the BPO generating a unique sound experience unlike anywhere else:
There was a way of phrasing and wave that goes throughout the orchestra, coming from the bass and shaping the phrase with amazing beauty and intensity.
Pahud at 22 was the youngest player in the Berlin Philharmonic, a position to which he returned in 2002 under Sir
Simon Rattle after taking a 18 month
sabbatical in 2000
in order to teach the Virtuosity Class at the
Conservatoire de Musique de Genève for one year and to perform in concerts worldwide. He was surprised on how emotional it was to leave the BPO. He recalls his emotions beginning a couple of hours before playing his last concert and only leaving him once he rejoined BPO in 2002.
The versatility and authority of current conductor Sir Simon Rattle,
says Pahud, gives the orchestra a unique working partnership and a capacity to be more adventurous in its exploration of repertoire.
[13] He also sees Rattle as an intellect; "he knows the orchestra and he achieves what he wants by taking into account the
vision
of the musicians
. In addition, Pahud also observed that whilst the former world-renown conductor
Herbert von Karajan "produced a big string sound with a great legato. The
Rattle sound
is a very transparent and constructed sound, with much more articulation to achieve definition in the sound." In baroque and classical music, this represents the influence of period performance.
The Berlin Philharmonic these days considers themselves a very individualist and soloistic "large ensemble."
In 2007, Pahud was voted onto the Media Vorstand (or the Member of the Media Board) of the BPO.
He currently shares the position of
Principal Flautist
with Andreas Blau who has held the position since 1969.
[14]
International Appearances
Pahud's workload has more than tripled since the early days of his international career in 1992. At that time he was doing about 50 concerts a year - but with the success of his solo career and continued involvement with the Berlin Philharmonic Orchestra, that number has spiralled to around 160;
90 solo or chamber music and 75 orchestral concerts in an average year – roughly twice the number of performances that most musicians would consider a heavy work-load.
[15] Pahud says that it's a balance he has had all his life and what prevents him from being isolated in one
genre or repertoire of music, or what he calls "a musical corner".
In 1993, Pahud began accepting international concert performances soon after settling into his position in Berlin. He has appeared as soloist with internationally renowned orchestras in addition to the Berlin Philharmonic: the
Yomiuri Nippon Symphony Orchestra, the
London Symphony Orchestra, the
Tonhalle Orchester Zurich,
L'Orchestre de la Suisse Romande, the
Berlin Radio Symphony Orchestra (East Berlin), and the Danish Radio Symphony also known as the
Danish National Symphony Orchestra.
He also appears regularly at leading festivals throughout Europe, the United States and the Far East.
[16] His more famous international
concerto appearances and collaborations of the past few seasons (2005-2008) included the Berlin Philharmonic, the
Baltimore Symphony Orchestra, the
London Philharmonic Orchestra, the
Monte-Carlo Philharmonic Orchestra, the
Bavarian Radio Symphony Orchestra, the
NHK Symphony Orchestra, the Berliner Barock-Solisten, the
Vienna Radio Symphony Orchestra, the
Orchestre National de Belgique, the
Orchestre Philharmonique de Radio France and a U.S. tour with the
Barcelona Symphony and Catalonia National Orchestra (including a
Carnegie Hall debut).
Another famous concerto collaboration took place in 2005-2006 with the
Australian Chamber Orchestra in reviving the Vivaldi Flute Concertos.
Pahud is also a dedicated chamber musician and has recently made international appearances throughout
Europe,
North America and
Japan in recital with pianists Éric Le Sage and
Stephen Kovacevich as well as in a flute and
string quartet formation with Christoph Poppen (violin), Hariolf Schichtig (
viola) and
Jean-Guihen Queyras (cello)
with whom he recorded his 1999 record
Mozart Flute Quartets
.
In 1993, he co-founded
Le festival de l'Empéri
[17] in
Salon-de-Provence, France, along with his regular chamber music partners pianist Éric Le Sage (close friend and confidant) and
Paul Meyer (clarinetist).
[18] In a French interview, Pahud describes the success of the festival as a project "filled with enthusiasm and fun"
where the public has "recognised our work, our fellow artists, musicians and actors and have the desire to come back regularly."
He also describes the festival as a "musical laboratory" which avoids the programming of works that the public are used to hearing in concert halls. It is about "daring to combine performers, works (music), create new collaborations and by taking risks.
Pahud has made several recordings and performed internationally with world-renowned pianist Éric Le Sage throughout his career.
[19]
Musical styles and recordings
Pahud describes his versatility over the years in music, as transforming himself into a chameleon who tries to match the colour of the music, or the idea he has of it, to what the composer had in mind. But his discography and career has also been built on encounters; both professionally and human relationships.
[20] He expresses in playing like a chameleon, "I try to change style, colour and phrasing, the way I breathe and articulate to suit the piece I am playing. I do not represent any particular national style."
Pahud seems himself as a performer/actor rather than a composer/creator.
For the Dalbavie Record (2008) Pahud dedicated himself to commissioning new works and to start new flute concertos; performing them for the first time on stage. Three composers were selected: Marc-André Dalbavie (French),
Michael Jarrell (Swiss), and
Matthias Pintscher (German) reflecting Pahud as a French and Swiss citizen living in Germany for over 15 years.
[21] Whilst working with German Composer, Matthias Pintscher; Pahud sought to explore a new level and style of playing the flute. He recalls:
We spent some time talking about the effects and about the special way of using the instrument. The most interesting thing is how you interconnect these various effects [from an instrument] that is one of the oldest on earth. Whether you blow on it, in it, or you use it as a trumpet or a recorder; you can have a lot of different sounds on such an instrument. But that's nothing new about it, the new thing is how you can combine
them and how you can get them to interconnect
so that it becomes one musical statement; one phrase.
In March 2008 Pahud performed the World Première of another work commissioned by Frank Michael Beyer, who composed
Meridian
, a Concerto for Flute & String Ensemble.
[22] Other World Premières include music composed by
Elliot Carter: Concerto for Flute & Ensemble, which Pahud premièred in September 2008 in Jerusalem.
[23] It was joint commissioned by the BPO, Jerusalem International Chamber Music Festival and Boston Symphony Orchestra.
[24] Pahud will World Première the Flute Concerto by
Luca Lombardi in 2010, commissioned by the
Kansas City Symphony.
[25]
Though he is an enthusiastic consumer and commissioner of new music, Pahud sounds most excited when relishing the old repertoire. “Mastery of an instrument helps you to sense new barriers. This is where you keep music moving,"
and he acknowledges his various experiences with newer flute compositions as benefiting the way he performs his traditional repertoire.
Pahud sees the future of interpretation (of music) will always be a blend of "tradition and novelty."
But to him, this concept is not a novelty in itself. Many composers have evolved from traditions such as
Bach for
Fortepiano and
Beethoven for the
Hammerklavier.
Pahud sees the term "tradition" as often being used to disguise the past, a lack of evolution or in denial of progress. But to him, the meaning of tradition is something
evolving
.
He adds, "Artists such as
Wilhelm Furtwängler, Herbert von Karajan, Claudio Abbado and Simon Rattle (conductors of BPO) were or are in line with tradition and make it evolve. In complete unconsciousness they feed from the past to define the future. That is one of the secrets of these great artists."
In most interviews, Pahud describes music/musical styles in terms of "
phrasing
" or a
Phrase (music). In musical terms, this refers to "a musical unit, often a component of a melody. The phrase may be regarded as a dependent division of music, such as a single line of poetry; it does not have a sense of completion in itself. Usually two or more phrases balance each other."
[26] It is like a grammatical construction with words to stress. Musical phrasing is also expressed in terms of how the music is executed. In terms of style of the Dalbavie concerto itself, Pahud reflects how the flute finds a resonance within the orchestra whilst maintaining its virtuosic, colourful and sensual phrasing.
In interpreting the poetic style of Jarrell, where the imagination of both the composer and of the audience are "immensely present" in his writing; Pahud describes, "This is something to me I like a lot in music is exactly what you cannot express with words but that its all there in the essence of the music."
On reflecting the style of the famous flautist
Jean-Pierre Rampal, "[Rampal] brought something new and unusual in terms of sound, class and grandeur of the expressive aspect of the flute. He was able to perform admirable phrases that never seemed to end, or how the breathing faded into the musical flow; and his ability to make the sound of the flute seem to extend endlessly, infinitely."
Pahud’s debut into the world of jazz came through meeting and collaborating with jazz pianist
Jacky Terrasson. He admires and derives inspiration from jazz flautists such as:
James Newton,
James Moody (saxophonist) (also a flute player),
Herbie Mann, and
Jeremy Steig.
[27] He has explored jazz further through performing big band music with friends and colleagues from the Berlin Philharmonic and local jazz musicians. Other examples of his vast interests in innovative musical genres include so-called “one-time projects” (as Pahud calls them); most recently in 2006, it included a collaboration project with the NHK Symphony Orchestra of a recorded original soundtrack for the NHK Taiga series Komyo ga Tsuji (Jp: ????).
For the many that come to see Pahud perform, either jazz or classical; it is not only about entertaining. Pahud reflects on his audiences being able to learn about music at his performances; it is about reacting at different levels and ranges of emotions. To Pahud, it is about interacting, connecting and enabling the audience to think about what is happening as the music is being played. He wants to open opportunities in developing curiosity to discover more about music as a way of
giving back
to the audience.
In 1996 he signed an exclusive contract with EMI Classics, the only flautist in the world to have a solo recording contract with a major record company. Pahud promises to be one of the most significant contributors to the catalogue of recorded flute music today.
[28] Nowadays much of his time is taken up with recording. He extended his contract with EMI for a further six years.
Recording adds a welcome diversity to Pahud's schedule:
I like to work for the mic - it brings a certain close-up on your playing. You have to take care of lots of things that you do not necessarily have to take care of when you are performing in a live concert hall. You don't have the emotional or the visual support, and you have to be exciting nevertheless. So at the same time you have to take greater care of the detail and bring a greater intensity to the music.
Pahud has recorded and/or collaborated a total of 22 discs with EMI.
The Flute
Pahud's first flute was a silver-plated
Yamaha. His parents later bought him two
Muramatsu Flutes, one half hand-made and the other fully hand-made.
Pahud currently plays a 14-karat golden flute which he bought from
Brannen Brothers in
Boston,
Massachusetts in 1989
with money he won from competitions.
Two weeks later he bought a head joint (the part into which the player blows) from
Dana Sheridan, another Boston flute manufacturer.
Pahud chose the Brannen flute body because it is one of the only flute makers that produce a decent Cooper scale,
based on the scales developed by
Albert Cooper (flute maker). He describes his instrument:
This is the most flexible instrument I have tried so far. It enables me to transpose into music what I'm thinking and what I'm feeling. But, although the instrument is important, the player is the most important. All the work must be done before the mouth even makes contact with the instrument. It all happens by the way you hold your muscles, control your lungs, use the different cavities in the head and the upper body to let the sound resonate more or less.
Pahud also refers to the silicon padding of the flute, in which he says contributes in giving the instrument its resonance. The preferred padding for his flute is a maker by the name of Uezawa.
He does not personally teach or give flute lessons only in Master Class sessions whilst touring. He explains for those who do not know the instrument very well, that the flute is an instrument that is not played by the tongue or by squeezing of the lips- but by the chest through blowing and making the flute respond.
In a French interview, when asked about where the flute resonates within the orchestra, Pahud replied, "The flute has a role of a soprano- the higher voice (la voix supérieur)."
He also describes its role in Italian Baroque Music (such as Vivaldi) for soloists and concertos, as having the imminent role of being suggestive (
suggestif
), evocative (
evocateur
), telling a story (
raconte à toi
), is lyrical (
lyrique
) and spiritual (
spirituel
).
Repertoire
Flute and Symphony Orchestra
[29]
- Berkeley
Concerto op. 36
- Bernstein
Halil for Flute & Orchestra
- Busoni
Divertimento
- Khatchaturian
Concerto
- Ligeti
Double Concerto for Flute & Oboe
- Maazel
Music for Flute and Orchestra
- Nielsen
Concerto
- Reinecke
Concerto in D major op. 283
- Ibert
Concerto
Flute and Chamber Orchestra
- Boehm
Concerto in G major, op. 1
- Cimarosa
Concerto in G major for 2 flutes
- Danzi
Sinfonia Concertante for Flute & Clarinet
- Devienne
Concerto no. 2 in D major, and No. 7 in E minor
- Gubaidulina
Music for Flute, Strings and Percussions
- M. Haydn
Concerto in D major
- Honegger
Double Concerto for Flute & Oboe
- Molique
Concerto in E minor
- Mozart
Concerto in G major K313, Concerto in D major K314, Concerto for flute and harp K299, Andante in C major K315, Rondo in D major K184
- Nielsen
Concerto
- Ibert
Concerto
- Rivier
Concerto
- Schulhoff
Double Concerto for Flute & Piano
- Schwindl
Concerto in D major
- Sciarrino
Rondo
- Spohr
Concerto no. 8 in a minor op. 47
- Stamitz
Concerto in G major
- Zafred
Concerto
Flute and Strings
- CPE Bach
Concertos in D minor (H426), G major (H445), A major (H438) and B flat major (H435)
- JS Bach
Concerto in A minor BWV 1056, Suite no. 2 in B minor BWV 1067, Brandenburg Concertos nos 4 and 5, Triple concerto BWV 1044
- Boccherini
Concerto in D major op. 27
- Gretry
Concerto in C major
- J. Haydn
Concerto in D major
- Jolivet
Concerto
- Leclair
Concerto in C major no.3 op. 7
- Mercadante
Concerto in E minor
- Pergolesi
Concertos in G major and D major
- Pleyel
Concerto in C major
- Quantz
Concertos in G major, D major, C minor, E minor
- Telemann
Concertos in F major and G major
- Vivaldi
Concerti: Four Seasons, Piccolo concerto
Awards and Recognition
- 2009
: Awarded the French Order of Arts and Literature (Ordre des Arts et des Lettres)
presented by Ambassador Bernard de Montferrand for contribution to French music. [30]
- 2006
: Lucerne Festival honoured him with the highest distinction of “Artiste Étoile”
.
- February 1998
: "Instrumentalist of the Year 1997"
at the prestigious Victoires de la Musique award ceremony in Paris.
- 1998-99
: Pahud's second EMI disc, Paris
(1998) containing French flute music, in collaboration with Le Sage, won the Diapason d'Or award.
- 1997-98
: Pahud's first EMI disc, Mozart Flute Concertos and the Concerto for Flute and Harp
(1997) won the Diapason "CD of the Year" award
, the Radio France listeners' poll
as favourite recording of the year, the Japanese Geijutsu Award
, and a Fono-Forum award
.
- October 1992
: Hand-picked by Claudio Addabo to be principal flautist of Berlin Philharmonic Orchestra.
- September 1992
: Pahud won eight out of the twelve special prizes at the Concours de Genève
. [31]
- 1989
: Won first prize at the Kobe International Flute Competition
.
- 1988
: Won first prize at the Duino International Music Competition
.
- 1988
: Won second prize at the International Scheveningen Music Competition
.
- 1985
: Won first prize at the National Competition of Belgium (le concours National de Belgique
)
- Soloists Prize
in the World-wide French-speaking Community Radio Awards.
- Awarded a total of four TV-Echo awards
in Germany.
- "Ongaku no Tomo" award
from the Japanese record industry.
- Awarded European Council's Juventus Prize
.
- Pahud is also a laureate
of the Yehudi Menuhin Foundation and of the International Tribune for Musicians of UNESCO.
Discography
On
EMI Classics- Opium- Mélodies françaises
(2009)
- ''Bach Flute & Harpsichord Sonatas (2008)
- Dalbavie: Flute Concerto
(2008)
- Brahms: Sonatas Op.120, No.1 & No.2 and Reinecke Sonata Op.167
(2007)
- Nielsen: Clarinet & Flute Concertos, Wind Quintet
with Sabine Meyer, BPO (20007)
- Vivaldi: Flute Concertos
with Australian Chamber Orchestra (2006)
- Haydn: Flute Concertos etc
(2005)
- French Connection: Chamber Works
(2005)
- Beau Soir
with Mariko Anraku (2004)
- Le Carnaval des animaux
(2004)
- Khachaturian/Ibert Flute Concertos
with Tonhalle-Orchestra Zürich (2003)
- Into the Blue
with Jacky Terrasson (2003)
- Telemann Concertos
(2003)
- Gubaidulina: The Canticle of the Sun- Music for Flute, Strings and Percussion
(2001)
- Mozart: Flute/Flute & Harp & Clarinet Concerti
with Sabine Meyer (2001)
- Bach: Brandenburg Concerto No.5 etc
with Berliner Barock Solisten (2001)
- Debussy/Ravel/Prokofiev
(2000)
- Mozart: Quartets for Flute, Violin, Viola & Cello
(1999)
- Haydn: Flute Concertos
with Haydn Ensemble Berlin (1998)
- Cantos y Danzas
with Manuel Barrueco (1998)
- Paris- French Flute Music
with Eric Le Sage (1998)
- Mozart: Flute Concertos
with BPO (1997)
On
Auvidis Valois [32]
- Weber: Sonatas for flute and piano
with Eric Le Sage (1995)
- Schubert: Introduction and Variations D.802, Sonata D.821, Sonatine D.385
with Eric Le Sage (1994)
- Beethoven: Sonata in B flat major, Sonata in F major op. 17, Serenade in D op.41
with Eric Le Sage (1993)
On
Musiques SuissesReferences
- Patrick Lam, Emmanuel Pahud - The showcase behind a début, ''ConcertoNet'', 16 May 2008. Retrieved on 2009-04-20
- Profile: Emmanuel Pahud, ''Muso'', October 2005. Retrieved on 2009-04-02
- Joseph Stevenson, Artist: Emmanuel Pahud, ''All Music Guide''. Retrieved on 2009-04-01
- Biography, ''EMI Classics/Virgin Classics''. Retrieved on 2009-04-18
- Virgin Mega France, Interview with Emmanuel Pahud (en français), ''VirginMega.Fr'', 21 December 2006. Retrieved on 2009-04-25
- Joyce Morgan, "Flautist's dream calling", ''The Age'', 16 July 2003. Retrieved on 2009-04-19
- Sir James Galway, Interview with Emmanuel Pahud, ''thegalwaynetwork''. Retrieved on 2009-04-18
- Interview with Emmanuel Pahud- pages 1-3, 5, 8, 11 (en français) ''La Traversière''. Retrieved on 2009-06-30
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- Kobe 2nd International Flute Competition, ''Kobe City Office''. Retrieved on 2009-04-19
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- Vancouver Recital Society, Emmanuel Pahud, Flute & Hélène Grimaud, piano, ''Vancouver Recital Society'', Retrieved on 2009-04-30
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- Emmanuel Pahud Discography, EMI Classics/Virgin Classics. Retrieved on 2009-04-01
- Matthew Connolly, "Centrecourt player: Why Emmanuel Pahud is the flute's big hitter", ''The Times'', 23 July 2004. Retrieved on 2009-04-19
- Emmanuel Pahud Audio & Video, ''EMI Classics/Virgin Classics''. Retrieved on 2009-04-30
- Beyer, Frank Michael, ''Boosey & Hawkes''. Retrieved on 2009-07-10
- Carter, Elliot, ''Boosey & Hawkes''. Retrieved on 2009-07-10
- Emmanuel Pahud Performance- Première, Berlin Philharmonic Orchestra
. Retrieved on 2009-07-10
- Emmanuel Pahud Performance- World Première, Kansas City Symphony
. Retrieved on 2009-07-10
- Virginia Tech Multimedia Music Dictionary:''Phrase'', Search Word: ''Phrase'', ''Virgina Tech Multimedia Music Dictionary'', Retrieved on 2009-04-30
- Barnes & Noble: Artist Interview- Emmanuel Pahud, ''All Media Guide, LLC'', Retrieved on 2009-04-30
- Music: Emmanuel Pahud, ''Global Radio 2008''. Retrieved on 2009-04-30
- Emmanuel Pahud Repertoire, ''Mark Stephen Buhl Artist Management''. Retrieved on 2009-04-15
- Berlin Philharmoniker Award for Contribution to French Music (article in German (Deutsch) ''Berlin Philharmoniker''. Retrieved on 2009-07-11
- The Kennedy Center: Biography of Emmanuel Pahud, [1], ''John F. Kennedy Center for the Performing Arts''. Retrieved on 2009-04-28
- Emmanuel Pahud Discography, Mark Stephen Buhl Artist Management. Retrieved on 2009-04-15