Artist: Célimène Daudet
Album: Messe noire
Genre: Classical
Release Date: 2020
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:04:26
Total Tracks: 15
Total Size: 914 MB

Tracklist:

01. Célimène Daudet – Lugubre Gondola No. 2, S.200 (08:38)
02. Célimène Daudet – Poème No. 1, Op. 71 (02:18)
03. Célimène Daudet – Poème No. 2, Op. 71 (02:34)
04. Célimène Daudet – Nuages gris, S. 199 (03:00)
05. Célimène Daudet – Sonate No. 9, Op. 68 “Messe noire” (09:25)
06. Célimène Daudet – Schlaflos ! Frage und Antwort, S. 203 (03:00)
07. Célimène Daudet – Poème-nocturne, Op. 61 (09:10)
08. Célimène Daudet – La Notte, S. 112 (10:16)
09. Célimène Daudet – Cinq Préludes, Op. 74: I. Douloureux, déchirant (01:35)
10. Célimène Daudet – Cinq Préludes, Op. 74: II. Très lent, contemplatif (01:44)
11. Célimène Daudet – Cinq Préludes, Op. 74: III. Allegro drammatico (00:44)
12. Célimène Daudet – Cinq Préludes, Op. 74: IV. Lent, vague, indécis (01:51)
13. Célimène Daudet – Cinq Préludes, Op. 74: V. Fier, belliqueux (00:58)
14. Célimène Daudet – Bagatelle sans tonalité, S. 216a (02:51)
15. Célimène Daudet – Vers la flamme, Op. 72 (06:14)

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After the success of her last album, dedicated to Messiaen and Debussy, Célimène Daudet returns to recording with another pairing, this time playing the last works of Scriabin and Liszt. In it, she invites us into an intriguing, enigmatic and almost mystical universe, a sort of final pilgrimage to the limits of piano’s sound possibilities. Built around the themes of night, death and mystery, this recital joins emblematic works such as Scriabin’s “Black Mass” Sonata (No. 9) and Vers la flamme to Liszt’s Lugubre gondola No. 2 and La Notte.Some works seem to echo one another, resounding across eras with a quasi-mystical correspondence that invites us into a strange voyage. Gathering ‘the last Liszt’ and ‘the last Scriabin’ on the same album struck me as obvious. To me, they both have a marvellously indescribable capacity to allow listeners to hear mystery, to create unique soundscapes, to explore ever further and farther, always to innovate and to extend the limits of a certain ending. Both question the conventions of harmonic language with drawn out chromaticism – one that goes almost to excess, inching close to its own demise – and the obfuscation of tonality, as well as Scriabin’s famous invention, the ‘mystic chord,’ which haunts most of his last works. We can therefore lose ourselves in exploration outside all form, skirting all rules, and necessarily giving ourselves over to the almost hypnotic sensation of getting lost in this extreme.