LYDIA JARDON

Florentine Mulsant

Piano Works

Buy on our platforms:

Details

CD n°1 / Passacaglia
1.Passacaglia op 29

Seven fugitive lights op 55
2.Seven fugitive lights op 55 - I
3.Seven fugitive lights op 55 - II
4.Seven fugitive lights op 55 - III
5.Seven fugitive lights op 55 - IV
6.Seven fugitive lights op 55 - V
7.Seven fugitive lights op 55 - VI
8.Seven fugitive lights op 55 - VII

Bitters
9.Bitters

Seven Preludes op 70
10.Seven Preludes op 70 - I
11.Seven Preludes op 70 - II
12.Seven Preludes op 70 - III
13.Seven Preludes op 70 - IV
14.Seven Preludes op 70 - V
15.Seven Preludes op 70 - VI
16.Seven Preludes op 70 - VII

Six Preludes op 77

17.Six Preludes op 77 - I

18.Six Preludes op 77 - II

19.Six Preludes op 77 - III

20.Six Preludes op 77 - IV

21.Six Preludes op 77 - V

22.Six Preludes op 77 - VI

CD n°2 / Eleven Preludes op 78
1.Eleven Preludes op 78 - I
2.Eleven Preludes op 78 - II
3.Eleven Preludes op 78 - III
4.Eleven Preludes op 78 - IV
5.Eleven Preludes op 78 - V
6.Eleven Preludes Op 78 - VI
7.Eleven Preludes Op 78 - VII
8.Eleven Preludes Op 78 - VIII
9.Eleven Preludes Op 78 - IX
10.ElevenPreludesOp 78 - X
11.Eleven Preludes Op 78 - XI

Eight pieces op 6
12. Eight pieces op 6 - I
13. Eight pieces op 6 - II
14. Eight pieces op 6 - III
15. Eight pieces op 6 - IV
16. Eight pieces op 6 - V
17. Eight pieces op 6 - VI
18. Eight pieces op 6 - VII
19. Eight pieces op 6 - VIII

Uno
20.Uno

Blue Toccata op 66
21.Blue Toccata op 66

Total duration of the recording CD 1: 59'00 / CD 2: 52'06

AR RE-SE 2019-8

THE PRESS SPEAKS ABOUT IT

Released in March 2020!

In Florentine Mulsant's creative process, the piano is both a divining rod and a vector of poetic inspiration. In the pages she devotes to the instrument, she willingly cultivates the spirit of variation and a very narrow formal approach, a quintessential approach.

From the passionate swell that underlies the Amers op. 4, after Saint-John Perse (1984) to the emotional concision of the Six Preludes op. 77 (2018), Florentine Mulsant's piano is meant to be pictorial without ever being directly illustrative, poetic without emphasis, expressive and yet always modest, intense but secret, virtuoso without extraversion. The variations that will animate Uno op. 8 (1992) or the Passacaglia op. 29 (2004) have nothing to do with the application of a scholastic technique, but everything to do with a subtle play of reflections. The Seven Fugitive Lights op. 55 (2014) easily reveal a tenderness that balances the great impulses that run through the work, as does the highly architectural cycle of 11 Preludes op. 78 (2018). The Blue Toccata op. 66 (2016) also maintains this fruitful dialogue between virtuosity and interiority, between instrumental gesture and poetic demand. For Florentine Mulsant, the instrument is not simply the dispenser of shimmering or colourful pages, it is the privileged and subtle interpreter of the movements of the heart, in what they are most precious and intense.