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Track(s) taken from CDA67686

Feuillet d'album

first printed in a magazine supplement in 1890; published in 1897

Stephen Hough (piano)
Recording details: July 2008
Henry Wood Hall, London, United Kingdom
Produced by Rachel Smith
Engineered by Tony Faulkner
Release date: March 2009
Total duration: 1 minutes 32 seconds

Cover artwork: When all is said & done (2006) by Anthony Mastromatteo (b?)
Reproduced by kind permission of the artist / Private Collection

Other recordings available for download

Angela Hewitt (piano)


'Listening to this recital I felt as though I were a guest at a sumptuous banquet … it is the different wines accompanying each course that make this meal special, that is to say the discriminating premier cru tone, touch (what magically hushed pianissimos) and masterly pedalling to which the diners are treated, each element adjusted to each composer yet all unmistakably Stephen Hough—vintage Hough at that, for here is a pianist at the height of his powers … a great piano recording and front runner for instrumental disc of the year' (Gramophone)

'The glinting wit and thorough seriousness of pianist Stephen Hough's playing—attributes you desire from all virtuosi but do not always find—make this mixed repertoire disc a particular joy' (The Observer)

'Variations sérieuses is given a spontaneous and nimble account, fully relaying Mendelssohn's dazzling invention; and also his heart … [Beethoven Op 111] the second movement has rarely sounded more luminous … [Invitation to the Dance] Hough's performance is scintillating and affectionate, notably lucid in how the hands interact. The Chopin waltzes are pleasurable for Hough's unaffected and crisp (but never inflexible) playing … this thoughtfully conceived, superbly executed and produced release warrants a most enthusiastic recommendation' (International Record Review)

'Hough's clear-sighted path through both the Mendelssohn and Beethoven, every detail perfectly placed, belies the charm he brings to the bravura glitter of the Weber, the subtle ambiguities of Debussy's La Plus que Lente, and the more insidious allure of the Liszt. It's a beautifully accomplished sequence' (The Guardian)

'It's hard to think of another pianist who could encompass such high seriousness—his techincal brilliance is never an alibi for superficiality in Beethoven and Mendelssohn—and high jinks within the same programme … Hough wears his virtuosity so lightly that the fantastically difficult notes seem to pour off his fingers with effortless ease. His Weber and Liszt are played with staggering bravura, his Chopin is both brilliant and wistful, and his Waltzing Matilda makes you want to laugh out loud' (The Sunday Times)
There is no need to speculate on the characterization of Chabrier’s Feuillet d’album. Instructing the artist who was to illustrate the piece when it was first published as a supplement to a magazine in 1890, the composer described it as a ‘blonde and very pale little girl, dreamy and tender; that’s the feeling’. Another Parisienne, or so it seems from the way the slow waltz idiom anticipates Satie’s cabaret songs, she most touchingly equivocates between major and minor. After wandering into a harmonic dream world in the middle section she returns with her melody in octaves—which, as Poulenc observed in his admiring comment on ‘Chabrier’s most tender piece of music’, was one of the older composer’s favourites devices.

from notes by Gerald Larner © 2009

Nul besoin de spéculer sur la peinture de caractère du Feuillet d’Album de Chabrier, tant ce dernier fut précis dans ses instructions à l’artiste qui devait illustrer l’œuvre pour sa première publication (comme supplément à un magazine, en 1890): «une petite fille blonde et très pâle, rêveuse et attendrie; voilà le sentiment». Parisienne elle aussi, du moins par la manière dont l’idiome de valse lente anticipe les chansons de cabaret de Satie, cette valse équivoque de façon touchante entre majeur et mineur. Après avoir erré en un rêve harmonique dans la section centrale, elle revient avec sa mélodie en octaves—ce qui, comme le remarqua Poulenc dans son admiratif commentaire du «morceau de musique le plus attendrissant de Chabrier», était l’un des procédés préférés de ce compositeur.

extrait des notes rédigées par Gerald Larner © 2009
Français: Hypérion

Es wäre müßig, darüber zu spekulieren, was in Chabriers Feuillet d’album dargestellt wird. An den Künstler, der das Stück 1890 für die Erstausgabe in der Beilage eines Magazins illustrieren sollte, richtete Chabrier folgende Beschreibung: es handle sich um „ein kleines blondes und sehr blasses Mädchen, träumerisch und sanft; das ist hier der Ausdruck“. Offenbar auch eine Pariserin; den Eindruck vermittelt jedenfalls der langsame Walzerstil, der Saties Kabarett-Lieder vorwegnimmt und sie bewegt sich zweideutig zwischen Dur und Moll hin und her. Nachdem sie sich im Mittelteil in einer harmonischen Traumwelt ergeht, kehrt sie mit ihrer Melodie in Oktaven zurück, was, wie Poulenc anerkennend über „Chabriers sanftestes Musikstück“ bemerkte, ein Lieblingsstilmittel des älteren Komponisten war.

aus dem Begleittext von Gerald Larner © 2009
Deutsch: Viola Scheffel

Other albums featuring this work

Chabrier: Piano Music
Chabrier: Piano Music
This album is not yet available for downloadSACDA67515Super-Audio CD — Deleted
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