Debussy: Jeunes Années Jonas Vitaud

• Claude Debussy (1862 - 1918): Suite Bergamasque, L. 75:
• 1 I. Prélude 04:42
• 2 II. Menuet 04:28
• 3 III. Clair de lune 04:46
• 4 IV. Passepied 04:02
• Mazurka, L. 67:
• 5 Mazurka, L. 67 03:26
• Images oubliées, L. 87:
• 6 I. Lent (mélancolique et doux) 03:57
• 7 II. Souvenir du Louvre 04:59
• 8 III. Quelques aspects de Nous n'irons plus au bois parce qu'il fait un temps insupportable 04:08
• Deux Arabesque, L. 66:
• 9 II. Allegretto scherzando 03:59
• Fantaisie for Piano and Orchestra, L. 73:
• 10 I. Andante ma non troppo 08:40
• 11 II. Lento e molto espressivo 08:28
• 12 III. Allegro molto 07:51
• Petite suite, L. 65:
• 13 I. En bateau 03:16
• 14 II. Cortège 03:20
• 15 III. Menuet 02:58
• 16 IV. Ballet 03:13
• Ariettes oubliées, L. 60:
• 17 I. C'est l'extase langoureuse 02:34
• 18 II. Il pleure dans mon coeur 02:26
• 19 III. L'ombre des arbres 02:11
• 20 IV. Paysages belges. Chevaux de bois 02:56
• 21 V. Aquarelles I. Green 02:03
• 22 VI. Aquarelles II. Spleen 02:18
• 3 Chansons de Bilitis, L. 90:
• 23 La Flûte de Pan 02:29
• 24 La Chevelure 03:19
• 25 Le Tombeau des naïades 02:37
• Prélude à l'après-midi d'un Faune (Arr. for piano Solo):
• 26 Prélude à l'après-midi d'un Faune (Arr. for piano Solo) 09:48
• Total Runtime 01:48:54

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
Secession Orchestra
Clement Mao-Takacs, conductor

Jonas Vitaud
“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.

Booklet for Debussy: Jeunes Années