More from. Wilhelm Kempff) Víkingur Ólafsson. I tried to do it on the album, to imagine it musically. But the album cover is also more personal than people might realize, because of how you perceive sound yourself. Víkingur Ólafsson - J.S. Can I make them into musical friends and create a dialogue that might show Rameau in a futuristic light, and find Debussy's deep roots in the French Baroque, and show him as much more than just this kind of hazy, impressionistic composer of space and sonority? He captures the pastoral nature of “Mussette en Rodeau”, the vigour of “Tambourin” and the wit, as well as the charm, of “La Villageoise” (tracks 4-6). The choice of instrument is very personal to Ólafsson, as this is the Steinway he chose for the Harpa Concert Hall, Reykjavik, in which this album (and his previous two) were recorded. And in a way, that's what great art should do. Víkingur Ólafsson. In an essay you wrote for the album, you say you think of the recording as a kind of a conversation between the two composers. Ólafsson relishes the character of the music, bringing both authority and spontaneity. Your album cover shows you painting colorful lines on a glass wall, with your fingers dipped in pastel blues and pinks and reds. Pianist Víkingur Ólafsson isn't the first to put the two composers together in a program, but it's rarely been done as well as it is here. It covers new album reviews by knowledgeable and independent writers, as well as in-depth guides and news. The recording unfolds almost like a classical mixtape, with Ólafsson juxtaposing tracks by two French composers, born almost two centuries apart, who both broke new ground in music. You always have to find examples from the past. Rameau ‎ (2xLP, Album, Gat) Deutsche Grammophon: 483 8283: Germany: 2020: Sell This Version: Recommendations Reviews Add Review [r15176050] Release. Have you been rewatching it? I've actually put a Debussy Prelude inside the middle of the suite, just like a little insert into the conversation. The Classic Review was launched in 2018 for classical music lovers around the globe. Víkingur Ólafsson - Debussy – Rameau × Mes favoris. The way he wrote for the instrument and the way he could perceive music, he does things that we have to wait another 150 years to see re-occurring in music history. Share. He has performed with leading orchestras in Europe and America, including the Los Angeles Philharmonic, Philharmonia Orchestra, Minnesota Orchestra, Gothenburg Symphony Orchestra, Detroit Symphony Orchestra, and the Swedish Radio Symphony Orchestra, and with such conductors as Thomas Adès, Esa-Pekka Salonen, and … The juxtaposition of these two contrasting musical worlds feels seamless, as textures of the Rameau complement and contrast with the Debussy. Ari Magg/Deutsche Grammophon These introspective miniatures intrigue and inspire the imagination with a divergence of texture, color, tempo, and mood. Rameau and Debussy were separated by hundreds of years and composed in vastly different styles, but they’ve been united on pianist—and former Grapevine cover star—Víkingur Ólafsson’s newest album, which presents the two revolutionary composers in dialogue with each other. Debussy certainly thought so, and penned an Hommage à Rameau in Book 1 of the Images for piano, heard here. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means. How did you come to unite these two specific composers? 1:55. 2:31. https://audiophile-magazine.com/.../vikingur-olafsson-debussy-rameau The journey Ólafsson travels is remarkable for its perspectives, each piece offers a different vista into the two composers while drawing a wide-ranging knowledge from each composition. We Insist: A Timeline Of Protest Music In 2020, Our Daily Breather: Tom Huizenga On Víkingur Ólafsson's Restorative Rameau. Buy CD Sell CD. Precision of articulation is impressive, ornaments are tightly executed, but there are freedom and spirit that bring this music to life. "Even if I wasn't a good pianist.". That's true. He wrote books about the function of harmony and the way tonal language works. Pianist Víkingur Ólafsson isn't the first to put the two composers together in a program, but it's rarely been done as well as it is here. Rameau’s “The Arts and The Hours” (in Ólafsson’s own arrangement, track 17) leads into “La Fille aux Cheveux de Lin” (Prelude 8 from book 1). Well, it's a game of the 21st century to pretend everyone has to be someone they're not. Un pianiste que l'on suit depuis ses débuts avec intérêt : il est arrivé dans le paysage musical avec Bach, nous a surpris avec les études de Philip Glass. I see these guys as the two turning points in French music, and in my opinion, perhaps the two greatest French musicians. I'm wondering how much of their personality comes out on the record and how much of your personality shines through their music? In his previous DG releases, he focused on a single composer — Philip Glass and Johann Sebastian Bach. Marketplace 0 13 For Sale from $14.22. His highly individual readings are nothing short of commanding. Returning to a sequence of three Debussy pieces — “Jardins sous la pluie” from “Estampes”, “Serenade for the doll” and “Snow is dancing” from “Children’s Corner” – Ólafsson reveals a freshness which focusses on the narrative. I would imagine that when you dive so deeply into the music of these composers, Rameau and Debussy, that you develop a personal relationship with them. I wonder what you think they might say to each other if they really could communicate. And then when I read that it's not the case, I was just totally shocked. Well, that's very much about the sonority of D, so that's very brown for me, and it's sort of dark brown. This may be only his third recording for the Yellow Label, but Ólafsson has made repeated waves thanks to his distinctive and refreshing approach to programming coupled with a breathtaking clarity of technique. Add to Collection Add to Wantlist Remove from Wantlist. It's a little bit like, if you want to break into a bank and get away with it, you really have to know the bank from the inside. The idea is that they've painted these incredible scenes into sound. The Icelandic musician, who turned 36 last month, has become a very good pianist indeed. I do have this condition called synesthesia, where I associate different pitches with different colors. A sequence of dances and other pieces follow from Rameau’s “Pièces de Clavecin” (1724). And I found traces of Rameau in Debussy; there was a direct link. ", When Víkingur Ólafsson was about 5 years old, he already knew what he wanted to be. Yeah, actually, BoJack has really been a source of delight for me. It covers classical music reviews, as well as in-depth guides and classical music news. Debussy worked as a music journalist and as a music critic into his 40s, and he wrote about a performance of Rameau he saw in Paris. Trending. I just think they are still alive anyway. This time he programs an album of two composers – Debussy and Rameau. Without pausing for breath, he launches into Rameau’s “Le Rappel des Oiseaux”. Yeah, I think these guys are both painters in sound. hide caption, Pianist Víkingur Ólafsson says he thinks of the composers on his new album, Debussy – Rameau, as "painters in sound. Ólafsson continues this approach into this all-too-familiar Debussy piece, in which he brings tenderness and spontaneity. 33 – Doric String Quartet, Review: Niklas Sivelöv – Piano Concertos – Composer, Malmö Symphony Orchestra, Review: Franz Schmidt – Complete Symphonies – Frankfurt Radio Symphony Orchestra, Paavo Järvi, Read of the latest news in classical music, Looking for the best version of a classical music piece? 16-Bit CD Quality 44.1 kHz - Stereo. I am trying to find, in a way, a bridge between the last note of a Rameau piece and the beginning notes of a Debussy piece. Víkingur Ólafsson: For the world, it's a great tragedy. But of course, if you do put two people like that, two Frenchmen who are relentlessly individual, together in the same room, either they become best friends or worst enemies. 28 titres (78:59). In the Rameau, the beauty of the long melodic lines, along with their antiphony, flow effortlessly. Our Daily Breather: Tom Huizenga On Víkingur Ólafsson's Restorative Rameau In a time of striving to keep ourselves and our environments pathogen-free, Our …