Elodie Vignon - Monsieur Debussy | L'œuvre pour piano | Vol. 1: Soirs d'or (2025) [Hi-Res]
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BAND/ARTIST: Elodie Vignon
- Title: Monsieur Debussy | L'œuvre pour piano | Vol. 1: Soirs d'or
- Year Of Release: 2025
- Label: Cypres
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 192.0kHz
- Total Time: 02:45:32
- Total Size: 587 mb / 5.68 gb
- WebSite: Album Preview
Tracklist
CD1
01. Prélude à l’après-midi d’un faune, L. 86 (Arr. Pour Deux Pianos de Claude Debussy)
02. Rêverie, L. 8
03. Arabesque No. 1, L. 66
04. Arabesque No. 2, L. 66
05. Danse bohémienne, L. 9
06. Valse romantique, L. 71
07. Suite bergamasque, L. 75: I. Prélude
08. Suite bergamasque, L. 75: II. Menuet
09. Suite bergamasque, L. 75: III. Clair de lune
10. Suite bergamasque, L. 75: IV. Passepied
11. Danse "Tarentelle styrienne", L. 69
12. Mazurka, L. 67
13. Ballade, L. 70
14. Images oubliées, L. 87: I. Lent (mélancolique et doux)
15. Images oubliées, L. 87: II. Souvenir du Louvre
16. Images oubliées, L. 87: III. Quelques aspects de Nous n’irons pas au bois parce qu’il fait un temps insupportable
17. Nocturne, L. 82
CD2
01. Pour le piano, L. 95: I. Prélude
02. Pour le piano, L. 95: II. Sarabande
03. Pour le piano, L. 95: III. Toccata
04. Images (1ère série), L. 110: I. Reflets dans l’eau
05. Images (1ère série), L. 110: II. Hommage à Rameau
06. Images (1ère série), L. 110: III. Mouvement
07. Estampes, L. 100: I. Pagodes
08. Estampes, L. 100: II. La Soirée dans Grenade
09. Estampes, L. 100: III. Jardins sous la pluie
10. Pièce pour piano "Morceau de concours", L. 108
11. Images (2ème série), L. 111: I. Cloches à travers les feuilles
12. Images (2ème série), L. 111: II. Et la lune descend sur le temple qui fut
13. Images (2ème série), L. 111: III. Poissons d’or
14. Masques, L. 105
15. D’un cahier d’esquisses, L. 99
16. L’Isle joyeuse, L. 106
For elodie Vignon, the decision to record Debussy's complete piano works in chronological order was born of what the Prelude a l'apres-midi d'un faune was in Debussy's day: a revelation! For her, playing this music is like entering a cocoon that belongs to you alone. This first volume (generous with 2CDs) of the three that will make up the complete works, naturally begins with Debussy's early works, pieces directly inspired by poems by Mallarme and Verlaine and which embrace the mysterious dimension of the sensory imagination. In the years that followed, he increasingly freed music from the polarisation exerted by the tonal note, keeping the sound space open and ultimately initiating spectral music. Debussy liked to draw inspiration from memories when composing, in order to maintain a distance between his own emotions and those he wished to arouse in the listener. Alfred Cortot spoke of evoking sensations rather than feelings, thus rejecting the late-Romantic aesthetic of emotional identification between composer and listener: an obligation that seemed too constraining to Debussy to be able to give rise to an open dialogue with the listeners of his work. Giving the impression of being invented as it is played, Debussy's music invites us to dream, to better understand the complexity of the world.
CD1
01. Prélude à l’après-midi d’un faune, L. 86 (Arr. Pour Deux Pianos de Claude Debussy)
02. Rêverie, L. 8
03. Arabesque No. 1, L. 66
04. Arabesque No. 2, L. 66
05. Danse bohémienne, L. 9
06. Valse romantique, L. 71
07. Suite bergamasque, L. 75: I. Prélude
08. Suite bergamasque, L. 75: II. Menuet
09. Suite bergamasque, L. 75: III. Clair de lune
10. Suite bergamasque, L. 75: IV. Passepied
11. Danse "Tarentelle styrienne", L. 69
12. Mazurka, L. 67
13. Ballade, L. 70
14. Images oubliées, L. 87: I. Lent (mélancolique et doux)
15. Images oubliées, L. 87: II. Souvenir du Louvre
16. Images oubliées, L. 87: III. Quelques aspects de Nous n’irons pas au bois parce qu’il fait un temps insupportable
17. Nocturne, L. 82
CD2
01. Pour le piano, L. 95: I. Prélude
02. Pour le piano, L. 95: II. Sarabande
03. Pour le piano, L. 95: III. Toccata
04. Images (1ère série), L. 110: I. Reflets dans l’eau
05. Images (1ère série), L. 110: II. Hommage à Rameau
06. Images (1ère série), L. 110: III. Mouvement
07. Estampes, L. 100: I. Pagodes
08. Estampes, L. 100: II. La Soirée dans Grenade
09. Estampes, L. 100: III. Jardins sous la pluie
10. Pièce pour piano "Morceau de concours", L. 108
11. Images (2ème série), L. 111: I. Cloches à travers les feuilles
12. Images (2ème série), L. 111: II. Et la lune descend sur le temple qui fut
13. Images (2ème série), L. 111: III. Poissons d’or
14. Masques, L. 105
15. D’un cahier d’esquisses, L. 99
16. L’Isle joyeuse, L. 106
For elodie Vignon, the decision to record Debussy's complete piano works in chronological order was born of what the Prelude a l'apres-midi d'un faune was in Debussy's day: a revelation! For her, playing this music is like entering a cocoon that belongs to you alone. This first volume (generous with 2CDs) of the three that will make up the complete works, naturally begins with Debussy's early works, pieces directly inspired by poems by Mallarme and Verlaine and which embrace the mysterious dimension of the sensory imagination. In the years that followed, he increasingly freed music from the polarisation exerted by the tonal note, keeping the sound space open and ultimately initiating spectral music. Debussy liked to draw inspiration from memories when composing, in order to maintain a distance between his own emotions and those he wished to arouse in the listener. Alfred Cortot spoke of evoking sensations rather than feelings, thus rejecting the late-Romantic aesthetic of emotional identification between composer and listener: an obligation that seemed too constraining to Debussy to be able to give rise to an open dialogue with the listeners of his work. Giving the impression of being invented as it is played, Debussy's music invites us to dream, to better understand the complexity of the world.
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