As son of the director Helfrid Foron, the cellist Sebastian Foron quite literally ‘grew up in the theatre’. His whole style of musicianship has been decisively marked and influenced by this connection with the theatrical world and with ist specific tones, gestures and methods of narration.
His musical training began at the piano at the age of six; he started to learn the cello at nine. He later studied with Valter Despalj, Siegfried Palm and Daniil Shafran, and held a scholarship at the University of Southern California, Los Angeles, continuing his studies there under Eleonore Schoenfeld. During this time, he also attended the master classes of Anner Bylsma, William Pleeth and János Starker.
He has worked closely together with the Ensemble Modern, and with the composers Louis Andriessen, Wolfgang Rihm, Jacqueline Fontyn, Gordon Kampe, Matteo Franceschini, Krysztof Penderecki and Manfred Trojahn, whose Second Cello Sonata he has recorded.
He has made concert appearances with many other musicians, including Julia Bartha, Tara Boumann, Nada Kecman, Stefan Litwin, Hui Ping Lan, Ernst Reijseger, Paquito d’Rivera, Rumi Sota-Klemm and Roberto Szidon.
His concert appearances have taken him to such diverse locations as the Cologne Triennale, the Berlin Konzerthaus, radio stations such as Radio Czech and Deutschlandfunk,
and to a whole series of destinations both within and outside Europe, including the USA and Japan. In 2009 in Prague, with the Hradec Králové Philharmonic Orchestra under
Andreas S. Weiser, he opened the festival Prague Premieres in the Rudolfinum with a performance of Wolfgang Rihm’s Concerto in One Movement. In December 2010 he gave the
first-ever performance of Karel Reiner´s Cello Concerto, Op. 34, with the Czech Philharmonic Orchestra under conductor Zdeněk Mácal also in the Rudolfinum – the
performance preserved on this CD.
Sebastian Foron’s repertoire spans both the established corpus of the music of the Classical and Romantic ages and the work of contemporary composers. He is especially interested in building bridges between these different epochs and is always eager to discover the work of composers who have not yet gained a place in the traditional repertoire.
Such is the case, for example, with the late-nineteenth-century female composer Marie Jaëll: having discovered her Cello Concerto (premiered in 1882) in the French National Library in Strasbourg, he gave the first performance in modern times in February 2011 and is editing further works of this neglected contemporary of Liszt.