Paris : Simon Cutts & Erica Van Horn
On Sunday, my furthest journey to date with the impediment. To the Armenian church on Rue Charlot, long-time bastion of the free concert, especially at the weekends. The programme is not always riveting, but this time we had to get there for two of my favourite pieces. Two young pianists were working together for four-hand pieces by Ravel and Debussy. Ma Mère l’Oie, with its finale of The Mechanical Garden, reflecting all the clockwork toys and mechanical games that Ravel had in his house in Montfort l’Amaury. You could see the construction of hands required to produce it on the keyboard by sitting not too far from the piano.
Debussy’s setting of the poems of Chanson de Bilitis by Pierre Louys as Six Épigraphs Antiques has been with me since I first encountered it back in the nineteen sixties, with its wonderful finale, that needs restating.