Merci Jean-Charles Hoffelé pour ce beau texte in Artalinna.
www.artalinna.com
Tant de pianistes, et d’abord français, auront joué Fauré sous l’abat-jour, le cantonnant au salon jusqu’aux ténèbres des ultimes opus ; pas Lucas Debargue qui inonde d’un puissant soleil...3 CommentairesComment on Facebook
Très beau texte en effet.👌
Effectivement très très beau texte 👏
👏👏👏❤️
New work in Lucas' repertoire - Grieg Piano Concerto in A Minor. Here on of its performances was recorded by Hungarian Bartók Rádió. Youtube link on comment 👇
Lucas is playing it with Mendelssohn Chamber Orchestra, conductor Peter Kovats.
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Thank you for the link. I have already enjoyed listening to it. Fabulous! Thank you.
Lucas is so good artist!!! One of the best
This was very emotional.. I loved every moment ♥️
About Lucas’ album "Fauré: Complete Music for Solo Piano" in Germany’s vom SWR radio.
Podcast link in comment. 👇
EXCERPTS
▶️“Debargue has delved deeply into Faure's life and work. This is proven by these very meaningful texts what he has written for the album booklet, where he also talks about the piano he chose to record on. It is a piano by the French piano maker and inventor Stephen Paulello, which, with its rich colours and nuances, suits perfectly to perform Fauré.”
▶️“Fauré is not a composer whose music you can easily get into – there are reminiscences from earlier times, this music is equally discreet and sensual and gently points towards modernity. Lucas Debargue describes Fauré's musical path as “the gentle revolution”.”
▶️“The way he plays this music – even late, somewhat harsher pieces sound both mysterious and full of foreboding. Debargue gives to this music clear contours, never being kitsch. He knows that music sounds best when you don't overdo with the pedal, everything is very clear. At the same time, nothing sounds too dry or scattered.”
▶️“Debargue is a master of the in-between worlds. Sometimes he whispers, sometimes he sheds a dim light on the music. It's never idle chattering on salon; he turns this music into an intimate conversation, full of details, elegant, thoughtful, and dreamy.”
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www.swr.de/swrkultur/musik-klassik/gabriel-faures-schattendasein-neueinspielung-seiner-klavierwer...
Merci Lucas !
Hâte de le retrouver Lucas Debargue c'est été au Festival de musique du château de Dio un très moment en perspective
Album magnifique ! 👏👏👏👏
J ai tout écouté,c est magnifique .merci
Как приятно следить за профессиональным ростом этого пианиста и каждый раз утверждаться в правильности оценок жюри конкурса Чайковского, благодаря чему мир узнал Дебарга. Этот пианист вселяет надежду на светлое будущее мирового пианизма. 👏👍🙏🌹
You are the best pianist Lucas, and throu you I love Faurés
share.bridge.audio/donald-lee-myers/myers-24-preludes--fugues?id=8b5af638-0696-4851-acb5-9d475cee...
Lucas, I only known you through your performances, but I thought you might have interest in a new cycle of 24 Preludes & Fugues composed by myself. If you shuould have any questions: my email is donmyersmusic@gmail.com. Thanks, for your time.
Back to Fauré ➡️ Barcarolle No. 9 in A Minor, Op. 101. LINK to full video in comment 👇
"Within the group of Barcarolles, the present piece stands out by virtue of its form: a single theme is subjected to a series of increasingly elaborate variations, culminating in the magnificent canon that leads to the piece’s climax. Its mournful melody suggests the song of a sailor rather than of a gondolier. The music ends as it began, gradually abandoning the world of seductive harmonies and plunging back down into the blackness of the instrument’s lowest register."
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Querido Lucas you are the best!!!!
Yesterday I participated in Aleksey Igudesman great show in Istanbul İş Sanat centre, for a surprise encore variation on Beethoven’s Für Elise : « Foreign Lisa ».
Article in comments 👇
- Merci à Thierry Hillériteau pour cet article dans Le Figaro ! Joie pour moi de contribuer à la célébration de la musique de Fauré en 2024 ! -
👇👇
QUOTES in English: 👉"Is there anything hard to grasp at Faure? Yes, without any doubt, answers Lucas Debargue. This young man, known by his unpredictable interpretations, while being very intellectual and even philosophical in his approach to music, confesses his passion for Fauré, a pupil of Saint-Saëns. 👉He refers to Vladimir Yankélévich'numerous writings on Faure to define his style and its evolution over time. “It is intangible in nature, invisible and formless, but still always present like music and perfumes, which we cannot see and touch with our hands … Something that doesn't exist, but still affects” – so wrote the philosopher-musician Vladimir Yankélévich about inexpressible in Fauré, about the “Fauréan charm”.
Debargue says: 👉“I am very fond of the word ambiguity that he uses repeatedly. There is clearly something of an enduring ambiguity in Fauré that can create problems of interpretation. With its own blend of classical use of harmony and romantic expression. Also in terms of his personal development.”
“👉I like to compare him to Scriabin. At the end of his life, his piano music took on a metaphysical, almost philosophical dimension. I mean certain barcarolles, or certain nocturnes, which are much more associated with a seascape or a state of trance than with a gondolier's song or a lullaby. These works have something of Mallarmé syntax or Proust sentences.”
Article link on comment 👇👇
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Great article! There is almost a Chekhovian symbolism in the late Fauré piano works. It seems to inhabit the String Quartet also.
I am enjoying and studying your beautiful recording of Fauré’s piano music!
What a great review!
Bravo Lucas! Vous exprimez ici exactement la pensée musicale qui s'est instillée en moi depuis mes 20 ans à propos de Fauré, Scriabine. Même univers dépaysant chez Mallarmé en poésie.
In German music journal ⏩⏩ Rondomagazin
Lucas Debargue – Expressionistischer Impressionist
rondomagazin.de
Rondo - Das Klassik- und Jazzmagazin1 CommentComment on Facebook
nous avons la revue "piano news",
New single - Fauré Barcarolle No. 9 in A Minor, Op. 101
Enjoy this music that sounds more like hypnotising variations on a sailor song than a song of Venetian gondoliers.
Youtube link in comment. 👇👇👇
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A great sounding instrument for this literature.
Marvelous!
Siganlo...este pianista no los va a defraudar!!
une fois de plus comparaisons si "tendances" nulles voire ridicules!
In German media about Lucas' album "Fauré: Complete Music for Solo Piano" in WDR Westdeutsche Rundfunk ⏭⏩
www1.wdr.de/mediathek/audio/wdr3/hoerstoff/audio-wunderbar-weich-lucas-debargue-spielt-klavierwer...
A quote: "Despite the fashion of his time, Fauré did not write programmatic music - music associated with romantic images and stories. It is just pure music, nevertheless full of emotion and personality. It is not easy to play, at times melancholically interwoven, at times full of hope, but always free of kitsch and restrained. The outbursts recede quickly, everything is mostly hypnotically flowing and subtle. One must understand all this multilayeredness when playing Faure, so as not to overwhelm everything with melancholy.
Although Fauré composed these dreamy soundscapes, on the other hand, there is a great deal of clarity and order, almost as in the music of the classicist era. Debargue plays in such a way that all these lines are clearly audible. It's exceptionally good and well thought out."
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One more wonderful review! Thank you for sharing.
Bonne chance ! Bonne continuation et du vent dans les voiles ! Bravo !
Merveilleux compte-rendu, on ne pourrait mieux dire!
Bonne continuation Lucas !
Curieuse de l’écouter. En revanche je ne comprends pas ces images publicitaires qui soumettent le musicien à un rôle de mannequin aussi inopportun que ridicule. Ces artifices sont désolants pour un musicien, vous n’évoluez pas dans le monde de la mode et le glamour consumériste n’a rien à faire dans la musique, même dans son aspect promotionnel. Quand je vois les superbes images ( déjà de l’art en soi) choisies pour promouvoir les disques jusqu’aux années 80-90, on a l’impression d’avoir échoué dans une agence de pub tentaculaire conçue pour ravager toute dimension artistique de l’appât même qui n’est pas celui consistant à vous faire acheter un rouge à lèvres, à la gloire de tout ce qui s’oublie.
Lucas Debague, excepcional pianista!!!
See you in Toblach Settimane Musicali Gustav Mahler Musikwochen👏👏👏
About Lucas' album "Fauré: Complete Music for Solo Piano" in Gramophone.
"Lucas Debargue is an artist who likes to go his own way, as witness his terrifically characterful Scarlatti sonatas (11/19), which I enjoyed as much as Patrick Rucker did. Here is something quite different: the complete Fauré solo piano music, a project that is still something of a rarity even today. Debargue writes in his refreshingly frank booklet essay that his has been a gradual enlightenment, having avoided Fauré in his youth (‘sleek, mechanical and occasionally opaque’); with the first cracks in his resistance coming when he overheard the First Barcarolle at a lesson in 2010. Only during lockdown did he find his breakthrough work – the Preludes, Op 103. Into this mix comes another vital element: a piano made by Stephen Paulello and named the Op 102 after the number of notes on its extended keyboard. For Debargue this was the right instrument – for its changeability of sound and its unusual clarity. These recordings were made in Paulello’s studio in 2021 and 2022.
That conviction Debargue mentions can certainly be heard in his account of those late Preludes, but this is a set laid out in chronological order, so there is much before them. The three Romances sans paroles bring us gently into Fauré’s world, here suitably unfussy, rubato applied judiciously in the Schumannesque second, while the third flows as easily as Jean-Philippe Collard’s classic account. The First Barcarolle – that revelation for the young Debargue – has an easy fluidity, Marc-André Hamelin steadier by some way, even if it doesn’t reach the quiet poetic heights of Germaine Thyssens-Valentin. Other highlights among the earlier music include the Fourth Nocturne, whose wide-eyed wonder is compellingly captured, contrasting with the build-up of its inner section, and the third Valse-caprice, whose sense of play is brought alive in a manner quite different from Thyssens-Valentin but no less potently. As we reach the Sixth Nocturne and Barcarolles Nos 5 and 6, we get into much-played territory. The Nocturne, though naturally flowing, doesn’t possess the poetry of its greatest interpreters – Thyssens-Valentin, Kathryn Stott and Collard among them – while the haunting tormented quality of the Fifth Barcarolle is more persuasive in Hamelin’s hands, but the ease of the Sixth is well conjured by Debargue.
With the Seventh Nocturne we’re thrust into a different world – one in which darkness and absolute seriousness of intent unfold on a larger canvas, with Debargue alive to its heaviness of heart. There’s another shift of mood for the Huit Pièces brèves, whose opening Capriccio has a pleasing insouciance to it, contrasting with the sombreness of the two fugues, an Allegresse that charms and a final Nocturne glinting with gossamer lines.
Debargue is a master when it comes to delineating new developments in Fauré’s sound world: the desiccated Nocturne No 9 is here starkly portrayed, significantly cooler than Hamelin. Thyssens-Valentin takes a faster tempo than either – all convince in their different ways. The links between this and the Tenth Nocturne, which picks up where the Ninth left off, are again made clear. I wondered if Debargue was trying too hard in the Ninth Barcarolle, where Stott evokes a hypnotic rocking motion with the simplest of means. However, the fifth of the Impromptus is particularly effective, with Debargue dispatching its whole-tone scales with a smiling virtuosity.
As we come to the very late music, there’s no doubting the conviction behind Debargue’s playing. The mourning quality of the Eleventh Nocturne, seemingly stilled by grief, is tellingly done, its radical harmonies and mournful bells uppermost. If he’s slightly less persuasive in the Tenth Barcarolle – here Hamelin is outstanding – the way he moulds the final bars is a thing of beauty. The final five pieces, three Barcarolles and two Nocturnes, make for draining listening – and I mean that as a compliment. Among the pervasive shadows, ire and spareness of means, almost more disturbing are the lighter elements (about as trustworthy as the hallucinatory major-key songs in Schubert’s Winterreise): how disconcerting, for instance, is the Eleventh Barcarolle, with its journey from pain to sunniness, or the Thirteenth Barcarolle. For Debargue the Twelfth Nocturne is where Fauré comes ‘closest to evoking the pain of the Great War’. And that quality is powerfully conveyed, especially in the terrifying crescendo-ing acceleration and its uneasily quiet sign-off. The final Nocturne also possesses great conviction: at a more flowing tempo than Hamelin or Thyssens-Valentin, there’s slightly less contrast with the shock of the G sharp minor outbreak, but its sense of wandering disquiet is palpable and he pulls a sense of hard-won consolation from its closing moments. Altogether, there is much to compel about this new set.
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Thank you. Always read whatever I come across myself and appreciate all shared by you. All great reviews you deserve!
🙌✨
Congrats Lucas, yeah it's a beautiful album. And Fauré's music is exceptional. Strange how many musicians could ignore it.. they all play Debussy and Ravel, rather. don't know why
Ce coffret me touche par son naturel. On oublie le pianiste qui s'efface complètement derrière Fauré. Il n'y a pas d'ego dans ce disque, seulement de la ferveur. C'est ça être interprète ! Bravo Lucas!
C'est une traduction de Chat GPT ? Terrible ...
The feeling of presence... to be in the music inside... in time, space, deep, colorful, multi-layered, freely filled... Congratulations! The piano is great and requires a lot of skill!
talk from inside the music…
❗️Clap de fin 👏pour cette incroyable première de festival dans un nouvel espace du Jardin Musical à Bruxelles, menée de main de maître par les deux jeunes génies de ces lieux : Julien Brocal et Geoffroy Chapelle. Il y a besoin de ce genre d’initiative trop rare, où toutes les conditions sont réunies pour que la musique classique, plutôt que d’être commémorée comme une langue morte, soit célébrée comme le plus vivant et vital des partages. Cela demande une énergie, un enthousiasme et une générosité à toute épreuve, que tous les bénévoles, musiciens, techniciens audiovisuels menés par Julien Hanck, ont mises à contribution dans un seul et même élan passionné.
Ces événements n’auraient pas eu la même saveur sans la présence des incomparables Stephen Paulello - Piano Technologies, Claire Paulello et leur enfant toujours unique à ce jour : le piano opus 102. C’était fantastique de voir des pianistes de tous âge faire cercle autour de l’instrument, et même l’essayer pour beaucoup d’entre eux !
Quel bonheur surtout d’avoir été tous réunis, avec un public au sein duquel toutes les générations étaient représentées. C’est l’avenir de la musique classique qui se joue là, l’esprit et le cœur ouverts, loin du poison de la routine, du snobisme et des convenances. Il n’est pas si fréquent de voir l’excellence revêtir d’autres habits que ceux de la docilité et de l’ennui : chapeau !
Force aux artistes et meneurs d’initiatives comme celle de Julien et Geoffroy, qui font preuve de tant d’humilité et de courage réels. Il est beau de voir qu’un tel amour pour le partage n’a guère besoin d’une quelconque autorité pour l’approuver : il a pour se nourrir et grandir tout l’amour qu’il reçoit en retour. Merci à vous tous, les amis ❗️
▫️▫️▫️
❗️End clap 👏 for this incredible festival premiere in a new space of the Jardin Musical in Brussels, masterfully led by the two young geniuses bringing life to this place : Julien Brocal and Geoffroy Chapelle. There is a need for this kind of initiative that is too rare, where all the conditions are met so that classical music, rather than being commemorated as a dead language, is celebrated as the most living and vital of sharing. This requires boundless energy, enthusiasm and generosity, which all the volunteers, musicians, audiovisual technicians led by Julien Hanck, have brought to bear in one and the same passionate spirit.
This festival would not have had the same flavor without the presence of the incomparable Stephen, Claire Paulello and their only child to this day: the piano opus 102. It was fantastic to see pianists of all ages circling around the instrument, and many of them even trying it!
What a joy to be all together, with an audience in which all generations were represented. It is the future of classical music that is being played out there, with an open mind and heart, far from the poison of routine, snobbery and convention.
It is not so common to see excellence put on other clothes than those of docility and boredom : hats off ! Strength to artists and leaders of initiatives like that of Julien and Geoffroy, who demonstrate so much real humility and courage. It is beautiful to see that such a love for sharing hardly needs any authority to approve it: it has to nourish itself and grow all the love it receives in return. Thanks to you all, my friends!❗️
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Yeahhhh ❤❤❤ ! Quelle joie !
Nous sommes si chanceux de t’avoir accueilli et crée tout cela ensemble mon cher Lucas, sans ton envie de venir nous rendre visite longuement, rien de tout cela n’aurait pu voir le jour. Merci de ta confiance, de ta passion brûlante et si inspirante pour la musique, dans la joie du partage et de l’authenticité. Des valeurs que nous partageons au Jardin Musical, et qui transparaissent dans ce jaillissement d’âme qui nous a tous réunis autour du beau, du juste, du cohérent. Coherentia, « être attaché ensemble », ce qui nous a relié non seulement le temps d’une semaine, mais à jamais gravé dans nos cœurs. Profonde gratitude pour tes mots. Julien
You are the best dear Lucas .we love your art!
From.Cordoba Argentina
Хлопим!
Ce fut un réel plaisir de tous vous rencontrer et d’échanger avec vous, j’attends une Rêve Party 2.0 avec impatience 😉 Merci et un grand bravo!!! Elliott
How inspiriring! Thank you!👏
LIVE streaming of Lucas' 2nd concert at the festival Jardin Musical.
Musicians: Élise Bertrand, violin, Maya Levy, violin, Jozefien Dumortier, viola, Léo Ispir, cello
Program: Lucas’ Piano Quintet – premiere, Fauré Piano Quartet
No. 2.
Link in comments 👇👇
FAURÉ ALBUM Belgium presentation in Brussels ! Video link in comments 👇👇
Big thanks 👏👏 Jardin Musical Julien Brocal Julien Hanck Arpeggio Films
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Cher Lucas Debargue, Vous me permettrez en tout respect et admiration de vous confier très cordialement que trop de communication tue la communication. Bien sincèrement vôtre.
Congrats!!!!
Thank you for the link. That was a fabulous presentation!
Magnifique album!
Video recording of FAURÉ NOCTURNE No. 12 E Minor Op. 107. It is like a small film what has a message also for our current times.
Youtube link in comment 👇👇
Special thanks for realisation 📽 Arpeggio Films Julien Hanck
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Watched the video recording earlier. So impressive!
Votre jeu est plus qu’exceptionnel… Votre talent et votre travail de recherche sont au même niveau d’excellence. C’est un magnifique moment de vous écouter.🦋
You are fantastic!
c’est Jean-Marc Luisada qui pour moi le premier a libéré ces nocturnes du col amidonné dans lesquels on les anesthésiait. Ici l’expression est poussée à un niveau que l’on n’aurait jamais osé imaginer dans du Fauré il y a 40 ans ; c’est magnifique ; bravo. Même si les barres d’immeubles sont anachroniques par rapport à l’époque du compositeur, on comprend que le désespoir devant cette vue d’horreur ait aidé le pianiste à interpréter ce drame musical !
Lucas' album "Fauré: Complete Music for Solo Piano" is in TOP 10 in Official UK Charts !
www.officialcharts.com/charts/specialist-classical-chart/
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Lucas will have series of concerts in Brussels at the innovative Jardin Musical festival. en.jardinmusical.org/r%C3%AAve-party
He also gave an interview to Belgian newspaper L'Echo
www.lecho.be/culture/musique/lucas-debargue-il-y-a-tant-de-fausses-idoles-dans-la-musique-classiq...
Lucas Debargue: "Il y a tant de fausses idoles dans la musique classique"
www.lecho.be
Le pianiste français Lucas Debargue publie une intégrale des pièces pour piano solo de Gabriel Fauré. Il sera la tête d’affiche du festival bruxellois "Rêve party". Entretien sans filtre avec ...5 CommentairesComment on Facebook
Benedicte Jerebzoff
CONGRATULATIONS!!!!!!💖
Best wishes!
En effet, Lucas, certains dits Grands pianistes de la collection Great pianists of the 20th Century furent choisis parce que sous contrat chez Phillips à Amsterdam...cela permit d'ignorer le grand Sokolov et bien des femmes pianistes comme Idil Biret, Guiomar Novaes. Également, les agences d'artistes de Paris, New York et Londres sont tellement puissantes que les mêmes élus circulent inlassablement d'année en année le long des circuits des dix grands orchestres d'Amérique et d'Europe, refermant ainsi toute porte d'entrée à la carrière aux gagnants des concours musicaux où s'éternisent à les remporter en vain les fabuleux jeunes musiciens de ta génération, oui, Lucas, tous bien meilleurs que les jadis grands proclamés encore inégalables (à l'exception des Richter, Gillels, Arrau, Cziffra, Pollini, Backhaus, Horowitz, Rachmaninoff qui furent véritablement immenses et presque sans égaux). Les réseaux d'influence de tout temps paralysent les talents: une collection de disques pour sensibiliser à la musique classique réussit le tour de force après pourtant 78 revues, et 78 CDs, à ignorer le nom du compositeur Gabriel Fauré, faut le faire. Une initiative pourtant française fort intéressante! Et puis de nommer pour un Grammy un si ordinaire pianiste (qu'on cherche à faire égaler à Barenboim) accompagnant une chanteuse quand des centaines et des milliers de pianistes le supplantent les yeux fermés c'est du favoritisme flagrant ou du wokisme de mauvais goût. Seules les dupes ignares avalent ça et applaudissentà cette corruption du goût, des moeurs et du chic, quelque maquillage qu'on veuille aposer sur ces fraudes musicales dégoûtantes.
J'ai toujours trouvé que Pollini jouait comme un ordinateur : tout est parfait techniquement mais sans âme. D'accord avec vous sur ce point.
Impressions and thoughts about Lucas' Fauré release presentation in Salle Cortot. Merci Pierre Carrive !
📌 "He launched into a chronological presentation, lively and very well balanced between musical analysis (always clear) and musicological comparisons (with Chopin, Mendelssohn, Liszt, Bach, Debussy, Ravel or jazz), with numerous examples, but also performances of complete works (more or less half of his presentation). At the end, he couldn't resist to give a brilliant encore (although he pointed out that such pieces were rare in Fauré) - the Quatrième Valse-Caprice, which he dedicated to the piano he was playing."
Le Fauré hors-normes de Lucas Debargue
www.crescendo-magazine.be
Salle Cortot, Lucas Debargue présentait l’enregistrement de son intégrale Fauré, réalisée sur le fameux Opus 102, le piano unique (à tous points d1 CommentComment on Facebook
J y ai assisté, c était super 🤩🤩
Lucas' interview in the latest Gramophone issue !
Quotes: 🔴 "I just can’t stand it when there’s one standard that everyone must follow. I find it horrible, and I think that if we continue like this it will for sure be the death of classical music, or it will mean that classical music will be only for a very small group of people who want to entertain this museum-like vision of interpretation!"
🔴And, as he intimated earlier, he finds the word ‘respect’ to be equally problematic. “Honestly, I hate this word. It doesn’t mean anything. It’s translating, not respecting. I get so angry when I read critics and their obsessions with “respecting the score” or “playing correctly”. Correctness has never been an artistic parameter.”
🔴 "Music is not entertainment for me – it’s life. It’s a translation of life into sound. Why does sound have to be polite and unexaggerated? Just read Shakespeare. When he’s not polite, he’s not at all polite. And sometimes music isn’t here to please."
3 CommentairesComment on Facebook
Gospel.
Very interesting prospective. A lot to discuss about the contemporary interpretations. If you find an Opera Verdi staged in a subway, sorry, I do not want to HEAR that, however, if you find new accents, interesting phrasing, voices to project , color, I am with you, totally. It just has to be sensible.
Thank you. An interesting interview.Reading, admiring it. Yes, this is a fresh look at Faure!
Five ⭐️stars to Lucas' Fauré album in German magazine Concerti @concerti !
1 CommentComment on Facebook
That’s great and well deserved! Thank you for the attachment. Congratulations!