For her third album, Élodie Vignon chooses the voice of romanticism. Like her first two Cypres albums, which presented mirrors between music and poetry, then between two French aesthetics, she proposes here a cross between the intimate Franz Liszt and the young Isaac Albéniz. Although the two romantic composers were of different origins, the two aesthetes were united by their taste for travel and their affinity with France, its language and culture. Liszt and Albéniz both met Debussy, who remains the epicenter of the recording work in which Elodie wishes to engage.

“D’ombres…”
This program is a continuation of the first album dedicated to Debussy’s Études, which revealed pianist Elodie Vignon to the public. Dutilleux has a close relationship with Debussy in his sensory approach to music. Composed just after the Second World War, his Piano Sonata reminds us, in some aspects, of Claude Debussy’s Pour le piano, also composed after another Great War. The composition of the Three Preludes, spread over a period of fifteen years, testifies to the composer’s desire to change his style and syntax, making it less linear and traditional. Claude Ledoux emerges from the shadows and delivers a work that seeks to translate the world in which we live, a world of silence and sound in perpetual transformation.

The pianist Élodie Vignon discovered and explored this perilous repertory of Debussy when she was still very young… She captured its poetic power, and she has never confused it with the vague and the approximate. She understood very early on that, for a pianist, Debussy’s last great cycle presented an inexhaustible reservoir of passion and rigour, of fire and precision, of work and relaxation. Her committed, precise interpretation, that keeps her ever in movement, ever in investigation, shows this, and she does not hide it, declaring that the “Études” never tire her and that, wherever she may be in the world, she feels at home when she plays them. The second part of the album counts twelve poems by the Belgian poet Lucien Noullez written for Élodie Vignon and her vision of the Études. Clara Inglese tell them above the echo of Élodie’s music.