Entrez dans la danse... Anne Queffélec

• Frederico Mompou (1893 - 1987):
• 1 Chanson et Danse No. 4 04:33
• Maurice Ravel (1875 - 1937):
• 2 Pavane pour une infante défunte, M. 19 07:06
• 3 Valse noble et sentimentale, No. 2, M. 61 02:39
• Claude Debussy (1862 - 1918):
• 4 Children’s corners, L. 113: IV. The snow is dancing 02:49
• Emmanuel Chabrier (1841 - 1894):
• 5 Cinq pièces pour piano: IV. Feuillet d’album. En un mouvement assez lent de valse, et très tendrement 02:11
• Guy Ropartz (1864 - 1955):
• 6 Dans l'ombre de la montagne: V. Ronde 04:40
• Renaldo Hahn (1874 - 1947):
• 7 Le rossignol éperdu, Premiere Suite: XXI. Danse de l’Amour et de l’Ennui 04:08
• Florent Schmitt (1874 - 1947):
• 8 Une semaine du petit elfe Ferme-l'Oeil, Op. 58: V. La ronde des lettres boiteuses 01:38
• Francis Poulenc (1899 - 1963):
• 9 Suite française d’après Claude Gervaise, FP 80: V. Bransle de Champagne 02:30
• Jules Massenet (1842 - 1912):
• 10 Valse folle 02:58
• Francis Poulenc (1899 - 1963):
• 11 Suite française d’après Claude Gervaise, FP 80: II. Pavane 03:07
• Claude Debussy (1862 - 1918):
• 12 Petite suite, L. 65: IV. Ballet 03:05
• Maurice Ravel (1875 - 1937):
• 13 Menuet antique, M. 7 06:38
• Claude Debussy (1862 - 1918):
• 14 Khamma, L. 125 04:14
• Camille Saint-Saëns (1835 - 1921):
• 15 Valse nonchalante en Ré-Bémol Majeur, Op. 110 04:21
• Eric Satie (1866 - 1925):
• 16 Pièces froides: II. Danses de travers 02:39
• Gabriel Pierné (1863 - 1937):
• 17 Valse impromptu, Op. 27 03:23
• Renaldo Hahn (1874 - 1947):
• 18 Le rossignol éperdu, Premiere Suite: XXVII. Danse de l’Amour et du Danger 03:23
• Francis Poulenc (1899 - 1963):
• 19 8 Nocturnes, FP 56: IV. Le bal fantôme 01:58
• Gabriel Fauré (1845 - 1924):
• 20 Suite Dolly, Op. 56: VI. Le pas espagnol 02:04
• César Franck (1822 - 1890):
• 21 Danse lente, FWV 22 02:34
• Claude Debussy (1862 - 1918):
• 22 6 Épigraphes antiques, L. 131: IV. Pour la danseuse aux crotales 02:34
• Francis Poulenc (1899 - 1963):
• 23 Suite française d’après Claude Gervaise, FP 80: VI. Sicilienne 01:59
• Ernest Chausson (1855 - 1899):
• 24 Quelques Danses pour piano, Op. 26: III. Pavane 05:02
• Total Runtime 01:22:13

Info zu Entrez dans la danse...

„Join in the dance . . . See how we dance!“ And then „Kiss whoever you like!“ Well, that remains to be seen . . .

„My mother doesn’t want me to go dancing“: Adèle, in her white dress and golden waistband, disobeys and drowns beneath the Pont du Nord, which collapses while a dance is going on.

„Join in the dance . . .“ The points of suspension in that ellipsis suggest the suspension of dance steps, of hopes, desires, regrets: how many songs disguised as dances here tell us of sorrowing hearts!

Dead and living Infantas cross paths in this anthology. Nostalgic grace in the Valse nonchalante of Saint-Saëns, vanished youth in Poulenc’s Le Bal fantôme and Chabrier’s Feuillet d’album, the childhood snow that dances in Debussy’s prélude as if recalling Villon’s poem lamenting the ‘snows of yesteryear’, the heartrending uncertainty of Franck’s Danse lente, love disturbed by ennui and danger in Hahn, the uneasily awkward harmonies of Satie’s Danse de travers . . . Over and above the grace, the diversion, the charm that the mere word ‘dance’ calls to mind, as soon as a great composer merges with a form, the pavan or the waltz, he takes us elsewhere than to a ball, or rather makes us realise that every ball is a masquerade. Eros and Thanatos clasp each other and twirl about the dance floor.

Since the dawn of time, people have danced at a birth, a death, a wedding, a battle, to defy or seduce. And the courtship ritual of pink amingos is a primeval ballet. In the womb, the foetus enthusiastically discovers the use of its limbs. David danced before the Ark of the Covenant, and, in similar ecstasy, Monsieur Jourdain, Molière’s Bourgeois Gentilhomme, aspired to grace under the tutelage of his dancing master. Music can dispense with dance, but dance cannot dispense with music for long.

Anne Queffélec, piano

Anne Queffélec
unanimously considered as one of the most remarkable pianists of our time, enjoys international fame as well as an exceptional influence over musical life. After graduating at the Paris Conservatoire, she studied in Vienna, where Paul Badura-Skoda, Jorg Demus and especially Alfred Brendel respectively became her teachers. The audiences will discover the charm and musical smartness of this great performer when she successfully wins the International competitions in Munich and in Leeds.

She plays under the direction of great conductors and with prestigious orchestras: the London Symphony, the London Philharmonic, the Philharmonia Orchestra, the BBC Symphony, the Academy of St Martin in the Fields, the Zurich Tonhalle, the Chamber Orchestra of Poland, of Lausanne, the Tokyo NHK Orchestra, the Kanazawa ensemble, the Hong Kong Philharmonic, the French National Orchestra and the Radio France Philharmonic Orchestra, the Strasbourg Orchestra, the Lille Orchestra, the Prague Philharmonic Orchestra, the Kremerata Baltica Orchestra.

Anne Queffélec runs several French and foreign festivals. She took part in the soundtrack of Amadeus, under the baton of Neville Marriner. She performed Mozart’s complete Piano Sonatas live on France Musique at the festival of La Roque d’Anthéron, thus confirming her passionate similarity with the world of Mozart.

On stage and in her recordings, Anne Queffélec maintains a selective repertoire. She has recorded more than thirty recordings respectively cut out at Erato’s, Virgin Classics’, Mirare’s. Her last CD's "Ravel, Debussy, Fauré" for Erato (2014), and "Scarlatti Sonatas" for Mirare (2015) have been awarded by a "Diapason d'Or". Her CD "Satie & Compagnie" has been awarded "Diapason d'Or" of the Year for Mirare (2013).

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