Claude Debussy - L'oeuvre pour piano, Vol. 1 (Elodie Vignon)

Information

Composer: Claude Debussy

1. Prélude à l’après-midi d’un faune, L. 86 (Arr. Pour Deux Pianos de Claude Debussy)
2. Rêverie, L. 8
3. Arabesque No. 1, L. 66
4. Arabesque No. 2, L. 66
5. Danse bohémienne, L. 9
6. Valse romantique, L. 71
7. Suite bergamasque, L. 75: I. Prélude
8. Suite bergamasque, L. 75: II. Menuet
9. 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
18. Pour le piano, L. 95: I. Prélude
19. Pour le piano, L. 95: II. Sarabande
20. Pour le piano, L. 95: III. Toccata
21. Images (1ère série), L. 110: I. Reflets dans l’eau
22. Images (1ère série), L. 110: II. Hommage à Rameau
23. Images (1ère série), L. 110: III. Mouvement
24. Estampes, L. 100: I. Pagodes
25. Estampes, L. 100: II. La Soirée dans Grenade
26. Estampes, L. 100: III. Jardins sous la pluie
27. Pièce pour piano "Morceau de concours", L. 108
28. Images (2ème série), L. 111: I. Cloches à travers les feuilles
29. Images (2ème série), L. 111: II. Et la lune descend sur le temple qui fut
30. Images (2ème série), L. 111: III. Poissons d’or
31. Masques, L. 105
32. D’un cahier d’esquisses, L. 99
33. L’Isle joyeuse, L. 106

Elodie Vignon, piano

Date: 2025

Label: Cypres

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For Élodie Vignon, the decision to record Debussy's complete piano works in chronological order was born of what the Prélude à l'après-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 Mallarmé 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.