Debussy, Stravinsky : Piano à quatre mains

Album review

Just over a year after releasing their first CD for Mirare (which we proudly awarded a Qobuzissime!), the Geister Duo is back to present us with its little brother: an album dedicated to the modernisms of the 1900s and two of its most illustrious representatives, Debussy and Stravinsky. Musically, the end of the 20th century was marred by departures and farewells, particularly to the late Romantics and post-Wagnerism. The journey towards new musical horizons, tonalities and modern forms had begun. It was during this time that a trio of talented composers joined forces. Debussy published his Six Epigraphes antiques in 1915, but their beginnings date back to 1900 when his close friend Pierre Louÿs commissioned him to write music for his Chansons de Bilitis. The six titles describe, in a poetic and ethereal fashion, a musical antiquity similar to that of Pelléas and Mélisande. Maurice Ravel was in the audience during the first performance of Debussy’s Prélude à l'après-midi d'un faune in 1894. This audience, including a captivated young Ravel, were left with nothing but high praise for Debussy. Ravel made it his duty to create a transcription that would perfectly “orchestrate” the piano four hands. Though Stravinsky’s Petrushka was received with slightly more criticism, it still ensured the composer’s international success. A far cry from late Romanticism, the emphasis here is on clear forms, sharp edges and diatonic pronunciation. The three works are uniquely presented in their chamber music version for piano. With only their four hands, David Salmon and Manuel Viellard manage to recreate an entire orchestra, transporting the listener to a musical era bursting with opportunity. The aural symbiosis of the two pianists seems even more refined than in their last recording and demonstrates that the duo still have a bright future ahead of them. © Lena Germann/ Qobuz