| 1. Tracklist |
| 2. 01. Valses nobles et sentimentales, M. 61: I. Modéré – tres franc |
| 3. 02. Valses nobles et sentimentales, M. 61: II. Assez lent – avec une expession intense |
| 4. 03. Valses nobles et sentimentales, M. 61: III. Modéré |
| 5. 04. Valses nobles et sentimentales, M. 61: IV. Assez animé |
| 6. 05. Valses nobles et sentimentales, M. 61: V. Presque lent – dans un sentiment intime |
| 7. 06. Valses nobles et sentimentales, M. 61: VI. Vif |
| 8. 07. Valses nobles et sentimentales, M. 61: VII. Moins vif |
| 9. 08. Valses nobles et sentimentales, M. 61: VIII. Epilogue – Lent |
| 10. 09. Piano Sonata No. 1 in F-Sharp Minor, Op. 24: I. Allegro molto moderato e grave |
| 11. 10. Piano Sonata No. 1 in F-Sharp Minor, Op. 24: II. Presto vivace |
| 12. 11. Piano Sonata No. 1 in F-Sharp Minor, Op. 24: III. Andante molto espressivo |
| 13. 12. Préludes pour piano, L. 117, Livre 1: III. Le vent dans la plaine |
| 14. 13. Préludes pour piano, L. 117, Livre 1: VIII. La fille aux cheveaux de lin |
| 15. 14. Préludes pour piano, L. 123, Livre 2: XII. Feux dartifice |
| 16. 15. La Plus Lente, L. 121 |
| 17. From the early 1800s to the end of the 1960s, Paris was the focal city of the arts world par excellence. La Ville Lumière was the city of intellectualism, a place which drew writers, artists and musicians from all over France and overseas. Paris, where every topic became a theme for discussion, and every discussion a reason to form a group, was the nursery from which every tendency and movement was to bud during the following 150 years. But as always, there were traditionalists who opposed this modern turn, and in a country whose culture was innately non-conformist the stage was set for debate. In the eighteenth century, the French were divided over whether music should follow French tastes or be inclined to the Italian. Then came the Romantics and the Wagnerians, Parnassianism, Naturalism, the Symbolists and the Impressionists, and all the diverse stylistic movements that fell into the melting pot of Expressionism.France was awash with influences, and composers of the time were hugely affected in a way never before seen in history: by inspiration from literature, visual arts and philosophy |
| 18. For decades now, has been among the most celebrated pianists of our time. In a world dominated by the media, has remained true to herself and to her music, and in doing so, is following in the footsteps of the great Russian musicians of the Soviet era, such as David Oistrakh, Sviatoslav Richter and Emil Gilels, who never wavered in their focus on the quintessence of music despite working in a very difficult political environment. Her almost legendary modesty still makes her somewhat media-shy today. Yet as soon as she walks out on the stage, audiences can sense the force behind the fact that music is and always has been her life’s work |
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