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Aquarelles - Erik Satie, Bedrich Smetana, Claude Debussy and Franz Liszt / Valerie Milot, harp

Audio Samples

>Satie, Erik : Gymnopédies (3), for piano (also orchestrated by Debussy)
>Debussy, Claude : Clair de lune
>Smetana, Bedrich : Vltava (The Moldau), symphonic poem (Má Vlast no 2), JB 1
>     112/2
>Tournier, Marcel : Suite for harp no 4 ("Images"), Op. 39
>Liszt, Franz : Liebesträume, notturno for piano no 3 in A flat major ("O Lieb, so lang du lieben kannst"), S. 541/
>Flothuis, Marius : Pour le Tombeau D'Orphée for harp, Op 37
>Renié, Henriette : Légende
>Albéniz, Isaac [Composer] : Spanish Suite no 2
>     Zaragoza

Album Summary

>Satie, Erik : Gymnopédies (3), for piano (also orchestrated by Debussy)
>Debussy, Claude : Clair de lune
>Smetana, Bedrich : Vltava (The Moldau), symphonic poem (Má Vlast no 2), JB 1
>Tournier, Marcel : Suite for harp no 4 ("Images"), Op. 39
>Liszt, Franz : Liebesträume, notturno for piano no 3 in A flat major ("O Lieb, so lang du lieben kannst"), S. 541/
>Flothuis, Marius : Pour le Tombeau D'Orphée for harp, Op 37
>Renié, Henriette : Légende
>Albéniz, Isaac [Composer] : Spanish Suite no 2
Performer Composers

Notes & Reviews:

With its ability to delicately suggest, obliquely seduce, and transport us to an "elsewhere" whose quaint, old-fashioned colors have nevertheless lost nothing of their power, is not the harp the perfect instrument to transform beloved works from the piano and symphonic repertoire into a series of elusive tableaux? Harpist Valérie Milot answers a definitive "Yes!" with several interpretations of works by Satie, Smetana, Debussy, and Liszt. Here are comments on some of those works:

Satie's three Gymnopédies are highly unusual and flout many of classical music's rules. Inspired by Flaubert's Salammbô, these ethereal dances are part of an Ancient Greek theme that runs through Satie's entire oeuvre.

Composed two years after Satie's triptych, Debussy's "Claire de lune" (from his Suite bergamasque), with its fluidity reminiscent of spoken language, likely takes its inspiration from a poem of the same name by Verlaine. A masterwork of Impressionism, the piece alternates subdued passages with sections of great emotional power, giving the impression of having captured an ephemeral moment in time.

Notes & Reviews:

Recording information: Church of Saint-Augustin de Mirabel (04/2012).



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Works Details

>Satie, Erik : Gymnopédies (3), for piano (also orchestrated by Debussy)
  • Performer: Valerie Milot (Harp)
  • Running Time: 8 min. 11 sec.
  • Period Time: Post Romantic
  • Written: 1888

>Debussy, Claude : Clair de lune
  • Performer: Valerie Milot (Harp)
  • Running Time: 4 min. 37 sec.
  • Period Time: Post Romantic
  • Written: 1890-1905

>Smetana, Bedrich : Vltava (The Moldau), symphonic poem (Má Vlast no 2), JB 1 :: 112/2
  • Performer: Valerie Milot (Harp)
  • Running Time: 10 min. 46 sec.
  • Period Time: Post Romantic
  • Written: 1874

>Tournier, Marcel : Suite for harp no 4 ("Images"), Op. 39
  • Performer: Valerie Milot (Harp)
  • Running Time: 11 min. 28 sec.
  • Period Time: Modern

>Liszt, Franz : Liebesträume, notturno for piano no 3 in A flat major ("O Lieb, so lang du lieben kannst"), S. 541/
  • Performer: Valerie Milot (Harp)
  • Running Time: 5 min. 23 sec.
  • Period Time: Romantic
  • Written: 1843-1850

>Flothuis, Marius : Pour le Tombeau D'Orphée for harp, Op 37
  • Performer: Valerie Milot (Harp)
  • Running Time: 5 min. 44 sec.
  • Period Time: Modern

>Renié, Henriette : Légende
  • Performer: Valerie Milot (Harp)
  • Running Time: 10 min. 34 sec.
  • Period Time: Modern

>Albéniz, Isaac [Composer] : Spanish Suite no 2 :: Zaragoza
  • Performer: Valerie Milot (Harp)
  • Running Time: 4 min. 28 sec.
  • Period Time: Post Romantic
  • Written: circa 1889