Joanne Polk - Awakening: Piano Music of Cécile Chaminade, Vol. 3 (2026) [Hi-Res]

Tracklist

01. Étude scolastique, Op. 139
02. 2 Piano Pieces, Op. 25: No. 1, Mélancolie
03. 2 Piano Pieces, Op. 25: No. 2, Humoresque
04. Légende, Op. 90
05. 3 Préludes, Op. 84: No. 1 in A Minor
06. 3 Préludes, Op. 84: No. 2 in F Major
07. 3 Préludes, Op. 84: No. 3 in D Minor
08. 6 Romances sans paroles, Op. 76: No. 1, Souvenance
09. 6 Romances sans paroles, Op. 76: No. 2, Elevation
10. 6 Romances sans paroles, Op. 76: No. 3, Idylle
11. 6 Romances sans paroles, Op. 76: No. 4, Eglogue
12. 6 Romances sans paroles, Op. 76: No. 5, Chanson Bretonne
13. 6 Romances sans paroles, Op. 76: No. 6, Meditation
14. 6 Pièces humoristique, Op. 87: No. 1, Réveil
15. 6 Pièces humoristique, Op. 87: No. 2, Sous bois
16. 6 Pièces humoristique, Op. 87: No. 3, Inquiétude
17. 6 Pièces humoristique, Op. 87: No. 4, Autrefois
18. 6 Pièces humoristique, Op. 87: No. 5, Consolation
19. 6 Pièces humoristique, Op. 87: No. 6, Norwégienne

As Dr. Jeffrey Langford writes in his liner notes for the album:
The recent resurrection of works by women who lived in the 19th and early 20th centuries has brought a treasure trove of new listening opportunities. Thanks largely to the efforts and dedication of pianist Joanne Polk, this beautiful, well-crafted music by Cécile Chaminade has finally come to light and is appearing on recitals by the most respected pianists of today.

Nearly all the pieces heard on this recording are miniatures, many of which fall into the genre known as “character pieces.” These are works usually with descriptive titles, such as “Mélancolie,” “Légende,” “Méditation,” and “Chanson Bretonne,” the mood of which is hopefully hinted at in the title of each piece.

Their formal structure is based on either a simple three-part (ABA) structure (as in Mélancolie) or on the alternation of two contrasting ideas (as in the especially beautiful “Méditation”). This recording also features six pieces collected under the title “Romances sans Paroles,” (songs without words) that are clearly modeled after the more famous “Lieder ohne Worten” by Felix Mendelssohn. Seven more character pieces are grouped under the title “Pièces Humoristiques,” which includes the title work for this album, “Réveil” (awakening).

Audiences and pianists alike are ripe for new repertoire, and the dissemination of the music of Cécile Chaminade (and others of her generation), thanks to recordings like this one, goes a long way to correcting decades of oversight and neglect of so much attractive music.