Imogen Cooper - Le temps perdu (2021) [Hi-Res]

Tracklist

01. Valse nobles et sentimentales, M. 61: I. Modéré, très franc
02. Valse nobles et sentimentales, M. 61: II. Assez lent, avec une expression intense
03. Valse nobles et sentimentales, M. 61: III. Modéré
04. Valse nobles et sentimentales, M. 61: IV. Assez animé
05. Valse nobles et sentimentales, M. 61: V. Presque lent, dans un sentiment intime
06. Valse nobles et sentimentales, M. 61: VI. Vif
07. Valse nobles et sentimentales, M. 61: VII. Moins vif
08. Valse nobles et sentimentales, M. 61: VIII. Épilogue
09. Sonatine, M. 40: I. Modéré
10. Sonatine, M. 40: II. Mouvement de Menuet
11. Sonatine, M. 40: III. Animé
12. Les Jeux d'eaux à la Villa d'Este, S. 163 No. 4
13. Jeux d'eau, M. 30
14. Hungarian Rhapsody No. 13, S. 244/13
15. Thème et variations, Op. 73: Thème. Andante moderato
16. Thème et variations, Op. 73: Variation I. Lo stesso tempo
17. Thème et variations, Op. 73: Variation II. Più mosso
18. Thème et variations, Op. 73: Variation III. Un poco più mosso
19. Thème et variations, Op. 73: Variation IV. Lo stesso tempo
20. Thème et variations, Op. 73: Variation V. Un poco più mosso
21. Thème et variations, Op. 73: Variation VI. Molto più moderato
22. Thème et variations, Op. 73: Variation VII. Allegretto moderato
23. Thème et variations, Op. 73: Variation VIII. Andante molto moderato
24. Thème et variations, Op. 73: Variation IX. Quasi Adagio
25. Thème et variations, Op. 73: Variation X. Allegro vivo
26. Thème et variations, Op. 73: Variation XI. Andante molto moderato
27. Réminiscences de Lucia di Lammermoor de Donizetti, S. 397
28. 6 Pezzi, P. 44: No. 3, Notturno



Borrowing from the title of Proust’s great novel, the latest recital by Imogen Cooper features a collection of pieces that she learnt as a teenager in Paris, or in her twenties working with Alfred Brendel in Vienna, but none of which she has performed on the concert platform, or really played at all in the intervening years. Cooper studied in Paris from 1961 to 1967 with Jacques Février (who had known Ravel well), Yvonne Lefébure (who had known Alfred Cortot), and Germaine Mounier. She started to wonder about the messages from her teachers she would find on her scores, and about the nature of memory. She was also interested to see if the repertoire she has acquired since she learnt these pieces would change her view, or shed new light on them. This highly personal recital is an exemplar of Imogen Cooper’s outstanding pianism and musicianship.

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