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SCHMITT, F.: Piano Duet and Duo Works (Complete), Vol. 1 (Invencia Piano Duo)

Composer(s):Schmitt, Florent
Artist(s) Invencia Piano Duo, Ensemble
Period(s) 20th Century
Genre Classical Music
Category Instrumental
Catalogue GP621
Label Grand Piano
Quality   320kbps
Album Price
 
CD
USD 16.99
 

 
MP3
USD 9.99
 

 


Winner of the Prix de Rome in 1900, Florent Schmitt stands alongside Debussy and Ravel as one of the most original and influential French composers of his time. This is the first of four volumes including unpublished work and rarities for piano duo and duet, each representing Schmitt’s rich harmonic palette and good humoured lyricism.


   




Review By Gary Lemco,Audiophile Audition,May 2013

The program by the Invencia Piano Duo—Andrey Kasparov and Oksana Lutsyshyn—opens with Trois rhapsodies, Op. 53 (1904), a work conceived in the Romantic tradition of the picture-post-card in national character: Francaise, Polonaise, and Viennoise. The first portrait, that of France, emanates a Gallic spirit in spite of the often thick counterpoint of the piano duet.

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Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....


Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Review By Daniel Foley,The WholeNote,January 2013

Volume One offers a familiar work followed by two world premiere recordings. The first item, the Trois Rapsodies for two pianos Op.53 (1903–1904), receives its fifth recording on disc. It is vintage Schmitt, rhythmically supple, harmonically inventive, and beautifully scored with telling thematic interchanges between the two pianos. The earlier Sept Pièces, Op.15 (1889) dates from Schmitt’s student days. Scored for two pianists at a single piano, the sonorities are more intimate and homophonic. Though it seems to me that Schmitt has either not quite found or is intentionally suppressing his distinctive creative voice here for academic reasons, this low-key, Schumann-esque multi-movement work is winningly genial and technically assured in every

more....

Read all publishers reviews(17)








 

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