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RENCONTRES INÉDITES I
Chopin, Fauré / Saadi – E. Moreau – Ridout – R. Moreau – Debargue – Dovgan
Two rarely performed chamber gems, interpreted by a constellation of some of the classical world’s brightest new-generation stars.
Programme
FRÉDÉRIC CHOPIN (1810-1849)
Piano Trio in G minor Op. 8
(Dovgan, Saadi, E. Moreau)
Interval
GABRIEL FAURÉ (1845-1924)
Piano Quintet No. 1 in D minor Op. 89
(Debargue, Saadi, R. Moreau, Ridout, E. Moreau)
Distribution
- Yamen Saadi violin
- Raphaëlle Moreau violin
- Timothy Ridout viola
- Edgar Moreau cello
- Lucas Debargue piano
- Alexandra Dovgan piano
Chopin’s four-movement Piano Trio was his only large scale chamber work, and while, inevitably for a piece composed when he was just 18, it carries the influence of the past masters (notably Beethoven), it also contains the beginnings of his trademark sophisticated assimilation of Polish folk dances; the Scherzo second movement, for instance, draws on the leaping Oberek, while the finale’s rondo theme is a syncopated, duple-time krakowiak. Fauré’s First Piano Quintet was completed in 1905, but begun as early as 1887, when he was also composing his Requiem – and the nostalgic Molto moderato’s opening doesn’t feel worlds apart from the Requiem’s ‘In Paradisum,’ with its long-lined strings against iridescently rippling piano figures. A tender, melancholic Adagio follows, full of close dialogue, before an equally densely-woven Allegretto moderato whose radiant climax features the work’s first truly bravura piano writing.
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