The idea is that they've painted these incredible scenes into sound. One white key above would be the D pitch, which would be brown. 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. 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. I was actually in a creative off-time, waiting for the birth of my son, so I had a lot of free time on my hands. Cet élément a bien été ajouté / retiré de vos favoris. Debussy – Rameau Víkingur Ólafsson. ", When Víkingur Ólafsson was about 5 years old, he already knew what he wanted to be. I don't buy into that whole thing, but it always stirs up the conversation, and that's good. Debussy certainly thought so, and penned an Hommage à Rameau in Book 1 of the Images for piano, heard here. 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 … Debussy certainly thought so, and penned an Hommage à Rameau in Book 1 of the Images for piano, heard here. 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 … They were the kind of guys who wanted to find their own questions and seek their own answers. Share. After well-received albums of Philip Glass and J.S. A highly engaging and considered sequence of Rameau’s more popular keyboard pieces leads to the final piece of Debussy. In many ways, Rameau was so ahead of his time. Both pianists offer equally valid interpretations. So this Glenn Gould quote from The New York Times — that's actually very interesting because it seems that it really divides people. 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. I'm curious. This interview has been edited for length and clarity. He puts chords into an unexpected and new context, and finds a way to dwell inside chords that earlier composers like Rameau would always have had to resolve. So what it means is difficult to explain because this goes deep into the way you perceive music. Between the two composers, there are 28 tracks on the album. 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. I just think they are still alive anyway. You know, it will be very interesting to see what kind of music will be written in this time of quarantine and the coronavirus. Is there a kind of call and response between the pieces as you've sequenced them? The piano is close, but the Deutsche Grammophon engineers have captured more of the acoustic on this occasion, which is welcomed. They were great experimentalists. And it's interesting to almost feel like you're unemployed. It covers classical music reviews, as well as in-depth guides and classical music news. Was Rameau the quintessentially French composer? You know, Daniil Trifonov is likened to Vladimir Horowitz. Rameau (2xLP, Album, Gat) Deutsche Grammophon: 483 8283: Germany: 2020: Sell This Version: Recommendations Reviews Add Review [r15176050] Release. Víkingur Ólafsson - Debussy: La fille aux cheveux de lin. On another level, I think it also makes us realize that things are not to be taken for granted and that things can change very suddenly. He treats the music with a more serious intent, articulation is fussier, ornaments increasingly varied and the tonal palette is darker. Review: “La Vanità del Mondo” – Philippe Jaroussky, Artaserse, Review: Martinů – Violin Concertos – Frank Peter Zimmermann, Bamberger Symphoniker, Jakub Hruša, Review: “Amici e Rivali” – Lawrence Brownlee and Michael Spyres perform Rossini, Double Review: Quatuor Arod and the Signum Quartett Play Schubert, Review: “Carnival of the Animals” – The Kanneh-Masons, Review: “Versailles” – Alexandre Tharaud, Piano, Review: César Franck – Piano Works – Nikolai Lugansky, Review: Ravel – Piano Concerto, Le Tombeau de Couperin – Perianes, Pons, Review: Shostakovich – Symphony No. The way the whole album is set up, it's almost like musical theater in two acts. Well, that's very much about the sonority of D, so that's very brown for me, and it's sort of dark brown. Every piece goes into the next with some sort of tonal connection, so it always feels like a dialogue. Víkingur Ólafsson. "Even if I wasn't a good pianist.". Have you been rewatching it? 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. And I found traces of Rameau in Debussy; there was a direct link. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means. 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. We Insist: A Timeline Of Protest Music In 2020, Our Daily Breather: Tom Huizenga On Víkingur Ólafsson's Restorative Rameau. Paru le 27/03/2020 chez Deutsche Grammophon (DG) Artiste principal : Víkingur Ólafsson; Genre : Classique; Disponible en. As a sense of melancholia engulfs and silence falls, the musical world at the end of this journey feels changed. Ólafsson has a sound all of his own, bringing a refreshing clarity to the mellifluous and mysterious sounds of impressionism. Without pausing for breath, he launches into Rameau’s “Le Rappel des Oiseaux”. The pitch of C, the middle C on a piano for instance, would be white for me. Debussy ; Rameau - Víkingur Ólafsson. But honestly, my entire time has gone into preparing for the new release that's coming out. I do have this condition called synesthesia, where I associate different pitches with different colors. Víkingur Ólafsson - Rameau, Ólafsson: The Arts and the Hours. 28 titres (78:59). I don't pretend that the [composers] are reborn through my interpretation. 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. It's actually a conversation between all three of us — that's my hope, and that's my belief. The distinctive aspects of Debussy’s style are very much appreciable, but played with a vibrancy that creates a striking picture in the mind’s eye. I've actually put a Debussy Prelude inside the middle of the suite, just like a little insert into the conversation. 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'm wondering how much of their personality comes out on the record and how much of your personality shines through their music? The pianist says he tried to create a conversation between Jean-Philippe Rameau, the baroque master who literally wrote the book on French harmony, and Claude Debussy, who, straddling the 19th and 20th centuries, absorbed those theories and then, as Ólafsson says, "threw them out the window. Icelandic pianist Víkingur Ólafsson has won the Limelight Recording of the Year 2020for his album pairing music by Debussy and Rameau on Deutsche Grammophon. Or I've seen Yuja Wang, countless times, being compared to Martha Argerich. 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. In his previous DG releases, he focused on a single composer — Philip Glass and Johann Sebastian Bach. Vikingur Olafsson’s latest recording is a sprawling juxtaposition of Debussy and Rameau. I wonder what you think they might say to each other if they really could communicate. Víkingur Ólafsson - J.S. I've heard that you are a fan of the television series BoJack Horseman. It's interesting because you can see Rameau as the father, if you wish, of French harmony.