Debussy, Poulenc, Ravel & Francaix: Piano Concertos

“Debussy's unjustly-dismissed Fantasie and Francaix's pithy Concertino are the highlights of this programme, superbly interpreted by Florian Uhlig.” --BBC Music Magazine, August 2013 ****

“What an enticing programme this is...Uhlig proves a compelling advocate and the winds of the accompanying orchestra seem to gain in confidence as the work progresses...The über-compact Françaix Concertino is perhaps the highlight here, Uhlig and the orchestra vibrantly capturing the work's myriad moods, culminating in a rip-roaring finale.” --Gramophone Magazine, August 2013

A great program featuring the largely neglected piano concertos from some famous composers active in France between 1890 and 1951. Debussy's "Fantaisie" was created in a period of change, exploring how the piano could become a voice in the orchestra.

After an altercation with the work NOT being played at its scheduled 1890 premiere, the Fantasie had to wait until after Debussy's death for its first performance and is seldom heard in the concert hall today.

The contrast with the late romantic Debussy work, Ravel is represented with the bright, humorous G Major Concerto. Poulenc's Piano Concerto is a jewel of sounds and colors, yet still stands in the shadow of his Concerto for Two Pianos. Finally, there is Jean Françaix’s Concertino, composed for a short, witty ten-minute film. Charm and wit, and all the corresponding range of moods are at Florian Uhlig’s command; the result is an entertaining and musically ravishing CD.

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Franck, Debussy, Ravel: Violin Sonatas

“The most striking aspect of this challenging recital is Jennifer Pike's fearless exploration of the violin's lower dynamic range. French music is all about colour and here she reveals radiant hues and patinas that most players leave hidden under layers of interpretative accretion...Pike's dazzling interpretative flair and exemplary technique combine to create one of the most outstanding debut violin albums of recent years.” --Classic FM Magazine, June 2011 *****

 

 

“Pike's playing is muscular, her intonation immaculate. She plays a 1708 Goffriller, which has a pleasantly dark sound when required. She discovers the right mix of fantasy and nostalgia in Debussy's late Sonata...this is a most impressive debut recital disc, presenting a fully fledged artist who has much to communicate through her expressive playing.” --International Record Review, April 2011

“Pike finds much to relish in [the three sonatas], not only in her beautiful singing tone, but also in moments of hushed mystery, all captured in an admirably clear recording that slightly over-favours the violin. Debussy's multiple gear-changes, Ravel's jazz-inflected musings and Franck's intense emotions are negotiated with ease.” --BBC Music Magazine, May 2011 ****

“Pike never over-eggs the gypsy element in Debussy, the blues in Ravel or the Germanic influence in Franck: she simply makes sure they inhabit their distinctive idiom...And yet, thanks to her thoughtful, lightly worn musicianship and Martin Roscoe’s sensitive pianism, each piece retains its unmistakably Gallic flavour.” --Financial Times, 30th April 2011 ***

“thoroughly idiomatic, glistening performances of three core French violin sonatas. This is playing that brims with character, bringing a smoky seductiveness to the finale of the Debussy. Franck’s A-major sonata is given with plenty of passion tempered by winning finesse in dynamics and tonal shading.” --The Telegraph, 12th May 2011 ****

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Debussy: Solo Piano Music

“This is one of the better offerings for Debussy's 150th anniversary...This generously filled disc finds Hewitt utterly persuasive in the three suites at its heart...Hyperion caputres the sound marvellously. Hewitt has the knack of noticing details without letting them detract from the musical flow...Special mention should be made of 'Clair de lune': it is quite an achievement for its lyrical beauty to be heard afresh.” --BBC Music Magazine, December 2012 *****

“Hewitt’s spectrum of touch, her fluency and sense of colour are deployed with equal enchantment in the first of the two arabesques, her lightness, rhythmic precision and varieties of tonal weight making the second arabesque into a glistening, fanciful filigree...Hewitt brilliantly and sensitively points up the traits that lend the music such distinctive character and evocative presence, not least in an account of “L’Isle joyeuse” that is pure, ravishing radiance.” --The Telegraph, 5th October 2012 *****

“There's not a trace of the "impressionistic" about her treatment of any of them: this is Debussy portrayed in clean, bright colours and sharply focused detail, with every rhythm precisely etched...it's undeniably high-class playing, even when you don't agree with some of its details.” --The Guardian, 4th October 2012 ****

“Hewitt has put together an ideal introduction to Debussy, but it’s one that can be enjoyed equally by experienced listeners – thanks to the artless touch and precise colours the Canadian pianist brings to each piece.” --Financial Times, 27th October 2012 ****

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Debussy: Four-Hand Piano Music

The recent discovery (2008) of the Première Suite d’orchestre for piano, four hands, is a large-scale, sonorous work which reveals Debussy’s interest in constantly evolving form. Derived in part from his incidental music for the Chansons de Bilitis, an evocation of poetic scenes from an ancient pagan world, Six Épigraphes antiques is a colourful work of considerable creative freedom. The Petite Suite includes such well-loved movements as En bateau and Cortège, while the Marche écossaise is heard on this recording in its rare first version.

"The two pianists…display a high degree of togetherness…this is a fine set of performances and mostly very well recorded indeed. The notes by Gérald Hugon are detailed and well structured—and translated into elegant English by Susannah Howe. We have grown to expect such quality from Naxos, another star to them." --MusicWeb International, May 2013

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