Debussy: Jeunes Années Jonas Vitaud
- Claude Debussy (1862 - 1918): Suite Bergamasque, L. 75:
- 1I. Prélude04:42
- 2II. Menuet04:28
- 3III. Clair de lune04:46
- 4IV. Passepied04:02
- Mazurka, L. 67:
- 5Mazurka, L. 6703:26
- Images oubliées, L. 87:
- 6I. Lent (mélancolique et doux)03:57
- 7II. Souvenir du Louvre04:59
- 8III. Quelques aspects de Nous n'irons plus au bois parce qu'il fait un temps insupportable04:08
- Deux Arabesque, L. 66:
- 9II. Allegretto scherzando03:59
- Fantaisie for Piano and Orchestra, L. 73:
- 10I. Andante ma non troppo08:40
- 11II. Lento e molto espressivo08:28
- 12III. Allegro molto07:51
- Petite suite, L. 65:
- 13I. En bateau03:16
- 14II. Cortège03:20
- 15III. Menuet02:58
- 16IV. Ballet03:13
- Ariettes oubliées, L. 60:
- 17I. C'est l'extase langoureuse02:34
- 18II. Il pleure dans mon coeur02:26
- 19III. L'ombre des arbres02:11
- 20IV. Paysages belges. Chevaux de bois02:56
- 21V. Aquarelles I. Green02:03
- 22VI. Aquarelles II. Spleen02:18
- 3 Chansons de Bilitis, L. 90:
- 23La Flûte de Pan02:29
- 24La Chevelure03:19
- 25Le Tombeau des naïades02:37
- Prélude à l'après-midi d'un Faune (Arr. for piano Solo):
- 26Prélude à l'après-midi d'un Faune (Arr. for piano Solo)09:48
Info for Debussy: Jeunes Années
In the 1880s and 1890s, Romanticism blazed its last. Just as Brahms was writing his final works, wreathed in a twilit halo, the young Debussy began composing. Hence his early works were born in the nostalgic mists of a century that was drawing to a close; but the gigantic sketchbook that we are invited to leaf through here is also animated by the life force that was to lead Debussy's music to explore resolutely new musical territories, and to advance, in total freedom, towards sounds that had never been heard before.
Jonas Vitaud, piano
Karine Deshayes, mezzo
Sebastien Droy, tenor
Roustem Saitkoulov, piano
Clement Mao-Takacs, conductor
“A deep, resonant tone, the way he plays immediately captures the attention and works miracles …” Diapason
Jonas Vitaud studied with Brigitte Engerer, Pierre-Laurent Aimard and Christian Ivaldi and was given four first prizes at the Paris National Conservatory (piano, chamber music, harmony and piano accompaniment). He has been awarded several international prizes as a soloist and in chamber music (Lyon, ARD in Munich, Trieste, Beethoven in Vienna).
Jonas Vitaud pursues an international career and performs in Japan, the United States and all over Europe at famous festivals such as la Roque d’Anthéron, les Musicales de Saint Côme, La Chaise Dieu Festival, Pâques à Deauville in France, the Goslar festival in Germany, Caserta in Italy, iDans in Turkey, French May in Hong Kong; and in numerous prestigious concert halls including the Bastille Opera, the Musée d’Orsay and the Salle Molière in Lyon.
As a soloist he has been invited to perform with orchestras in Europe: the Toulouse Capitole Orchestra, the Mulhouse Orchestra, The Pays de Savoie Orchestra, the Philarmonic of Moravia and the Bavarian Radio Symphony Orchestra.
Jonas Vitaud has also dedicated himself to chamber music, a passion that he shares with such artists as Aldo Ciccolini, Bertrand Chamayou, Juliana Steinbach, Matthew Trusler and Laurent Korcia. He also plays regularly with the soprano Géraldine Casey, the mezzo Janina Baechle and the cellist Henri Demarquette.
Passionate about contemporary music, he has premiered works of such gifted composers as Thierry Escaich and Christian Lauba, and has worked with Henri Dutilleux, Thierry Escaich, György Kurtag and Philippe Hersant, who have inspired him greatly and have helped him develop as an artist.
Jonas Vitaud is the laureate of the following prestigious foundations: Natexis Banques Populaires, Tarazzi, Drouet Bourgeois (Fondation de France) and the Singer Polignac Foundation.