Entrez dans la danse... Anne Queffélec

• Frederico Mompou (1893 - 1987):
• 1Chanson et Danse No. 404:33
• Maurice Ravel (1875 - 1937):
• 2Pavane pour une infante défunte, M. 1907:06
• 3Valse noble et sentimentale, No. 2, M. 6102:39
• Claude Debussy (1862 - 1918):
• 4Children’s corners, L. 113: IV. The snow is dancing02:49
• Emmanuel Chabrier (1841 - 1894):
• 5Cinq pièces pour piano: IV. Feuillet d’album. En un mouvement assez lent de valse, et très tendrement02:11
• Guy Ropartz (1864 - 1955):
• 6Dans l'ombre de la montagne: V. Ronde04:40
• Renaldo Hahn (1874 - 1947):
• 7Le rossignol éperdu, Premiere Suite: XXI. Danse de l’Amour et de l’Ennui04:08
• Florent Schmitt (1874 - 1947):
• 8Une semaine du petit elfe Ferme-l'Oeil, Op. 58: V. La ronde des lettres boiteuses01:38
• Francis Poulenc (1899 - 1963):
• 9Suite française d’après Claude Gervaise, FP 80: V. Bransle de Champagne02:30
• Jules Massenet (1842 - 1912):
• 10Valse folle02:58
• Francis Poulenc (1899 - 1963):
• 11Suite française d’après Claude Gervaise, FP 80: II. Pavane03:07
• Claude Debussy (1862 - 1918):
• 12Petite suite, L. 65: IV. Ballet03:05
• Maurice Ravel (1875 - 1937):
• 13Menuet antique, M. 706:38
• Claude Debussy (1862 - 1918):
• 14Khamma, L. 12504:14
• Camille Saint-Saëns (1835 - 1921):
• 15Valse nonchalante en Ré-Bémol Majeur, Op. 11004:21
• Eric Satie (1866 - 1925):
• 16Pièces froides: II. Danses de travers02:39
• Gabriel Pierné (1863 - 1937):
• 17Valse impromptu, Op. 2703:23
• Renaldo Hahn (1874 - 1947):
• 18Le rossignol éperdu, Premiere Suite: XXVII. Danse de l’Amour et du Danger03:23
• Francis Poulenc (1899 - 1963):
• 198 Nocturnes, FP 56: IV. Le bal fantôme01:58
• Gabriel Fauré (1845 - 1924):
• 20Suite Dolly, Op. 56: VI. Le pas espagnol02:04
• César Franck (1822 - 1890):
• 21Danse lente, FWV 2202:34
• Claude Debussy (1862 - 1918):
• 226 Épigraphes antiques, L. 131: IV. Pour la danseuse aux crotales02:34
• Francis Poulenc (1899 - 1963):
• 23Suite française d’après Claude Gervaise, FP 80: VI. Sicilienne01:59
• Ernest Chausson (1855 - 1899):
• 24Quelques Danses pour piano, Op. 26: III. Pavane05:02
• Total Runtime01:22:13

Info for Entrez dans la danse...

„Join in the dance . . . See how we dance!“ And then „Kiss whoever you like!“ Well, that remains to be seen . . .

„My mother doesn’t want me to go dancing“: Adèle, in her white dress and golden waistband, disobeys and drowns beneath the Pont du Nord, which collapses while a dance is going on.

„Join in the dance . . .“ The points of suspension in that ellipsis suggest the suspension of dance steps, of hopes, desires, regrets: how many songs disguised as dances here tell us of sorrowing hearts!

Dead and living Infantas cross paths in this anthology. Nostalgic grace in the Valse nonchalante of Saint-Saëns, vanished youth in Poulenc’s Le Bal fantôme and Chabrier’s Feuillet d’album, the childhood snow that dances in Debussy’s prélude as if recalling Villon’s poem lamenting the ‘snows of yesteryear’, the heartrending uncertainty of Franck’s Danse lente, love disturbed by ennui and danger in Hahn, the uneasily awkward harmonies of Satie’s Danse de travers . . . Over and above the grace, the diversion, the charm that the mere word ‘dance’ calls to mind, as soon as a great composer merges with a form, the pavan or the waltz, he takes us elsewhere than to a ball, or rather makes us realise that every ball is a masquerade. Eros and Thanatos clasp each other and twirl about the dance floor.

Since the dawn of time, people have danced at a birth, a death, a wedding, a battle, to defy or seduce. And the courtship ritual of pink amingos is a primeval ballet. In the womb, the foetus enthusiastically discovers the use of its limbs. David danced before the Ark of the Covenant, and, in similar ecstasy, Monsieur Jourdain, Molière’s Bourgeois Gentilhomme, aspired to grace under the tutelage of his dancing master. Music can dispense with dance, but dance cannot dispense with music for long.

Anne Queffélec, piano

Anne Queffélec
unanimously considered as one of the most remarkable pianists of our time, enjoys international fame as well as an exceptional influence over musical life. After graduating at the Paris Conservatoire, she studied in Vienna, where Paul Badura-Skoda, Jorg Demus and especially Alfred Brendel respectively became her teachers. The audiences will discover the charm and musical smartness of this great performer when she successfully wins the International competitions in Munich and in Leeds.

She plays under the direction of great conductors and with prestigious orchestras: the London Symphony, the London Philharmonic, the Philharmonia Orchestra, the BBC Symphony, the Academy of St Martin in the Fields, the Zurich Tonhalle, the Chamber Orchestra of Poland, of Lausanne, the Tokyo NHK Orchestra, the Kanazawa ensemble, the Hong Kong Philharmonic, the French National Orchestra and the Radio France Philharmonic Orchestra, the Strasbourg Orchestra, the Lille Orchestra, the Prague Philharmonic Orchestra, the Kremerata Baltica Orchestra.

Anne Queffélec runs several French and foreign festivals. She took part in the soundtrack of Amadeus, under the baton of Neville Marriner. She performed Mozart’s complete Piano Sonatas live on France Musique at the festival of La Roque d’Anthéron, thus confirming her passionate similarity with the world of Mozart.

On stage and in her recordings, Anne Queffélec maintains a selective repertoire. She has recorded more than thirty recordings respectively cut out at Erato’s, Virgin Classics’, Mirare’s. Her last CD's "Ravel, Debussy, Fauré" for Erato (2014), and "Scarlatti Sonatas" for Mirare (2015) have been awarded by a "Diapason d'Or". Her CD "Satie & Compagnie" has been awarded "Diapason d'Or" of the Year for Mirare (2013).

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