Regular duet and two-piano partners Hélène Mercier and Louis Lortie have returned to the studio for this all-Debussy program. The album features duets written by the composer himself -such as the Petite Suite, the Six Épigraphes antiques and the Marche écossaise sur un thème Populaire; as well as a number of arrangements of his solo piano pieces (the Première Arabesque, La Fille aux cheveux de lin and the "Slavic" Ballade). The album ends with André Caplet’s monumental arrangement of Debussy’s best known orchestral work, La Mer. Stripped of its orchestration, this two-piano version allows the listener to more easily appreciate Debussy’s ground-breaking harmonic innovation. The album was recorded in the concert hall at Snape Maltings in Suffolk, using a pair of Bösendorfer 280 VC grand pianos.

REVIEWS:

Regular duet and two-piano partners Hélène Mercier and Louis Lortie present this all-Debussy program, starting and ending on the water. The duo characterize Debussy’s impressionism well with playing that is sensitive and charming.

The album ends with André Caplet’s monumental arrangement of Debussy’s best known orchestral work, La Mer. Stripped of its orchestration, this two-piano version allows the listener to more easily appreciate Debussy’s ground-breaking harmonic innovation.

-- Cumbria Times (Andrew Palmer)

The playing by the two distinguished pianists is faultless, distinctly outlining the notes with a clarity of separation; the recording in the superb acoustic of the Snape Maltings captures the sound ideally; the presentation of the booklet, with extensive and informative notes in three languages by Roger Nichols, is excellent; and the music itself, I need hardly add, is marvelous.

Most frustratingly then, is that Debussy’s masterpiece for the two-piano repertoire, his late En blanc et noir, is missing. That, however, is not to say that the purchaser of this very full disc is under-compensated. Nevertheless, there might be something to be said for letting us hear Debussy’s music in two-piano and piano-duet arrangements, especially those published during his lifetime, even when we may suspect that reasons of commercial necessity may have prompted their original issue.

-- MusicWeb International

Twenty five years after their last recording of piano duets on Chandos, the Canadien pianists Louis Lortie and Hélène Mercier return in a watershed collection of magnificently played duets by Rachmaninoff including the two suites and an arrangement for his Symphonic Dances. The Lortie/Mercier piano duo have known one another since their early teens, and have a considerable collaborative discography that showcases their affinity for the art of 4 hands and 2 pianos performances and repertoire.

Each recording in this 40-disc set has been selected by Chandos Managing Director, Ralph Couzens, son of the label founder, because it represents a turning point, or ‘Landmark’, in the development of the label.

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Founded by Brian Couzens in 1979, Chandos quickly established itself as one of the world’s leading classical labels. The ‘Chandos Sound’ has become a benchmark for quality, renowned alike among artists and critics around the globe.

From its inception, Chandos has specialised in recording British music, and in bringing lesser-known (and unknown) music to public attention. Released to celebrate the 40th Anniversary of the label, this handsomely packaged 40-disc set comprises 40 complete recordings from Chandos’ extensive catalogue.

Each of the four decades is represented, and each recording has been hand-picked by the Managing Director, Ralph Couzens, because it represents a turning point, or ‘Landmark’, in the development of the label.

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Excerpts from select reviews of previously released volumes included in this set:

Prokofiev: Symphony No 6, Waltzes Suite, Etc. / Järvi, Royal Scottish National Orchestra - NLA


This 1984 recording put the somewhat neglected Sixth Symphony of Prokofiev back on the musical map; it remains on balance the finest available.

– ClassicsToday.com

Vaughan Williams: London Symphony; Butterworth: Banks of Green Willow / Hickox, LSO

Conductor and orchestra respond with an unquenchable spirit, generous flexibility and tender affection that suit VW’s admirably ambitious inspiration to a T, and Chandos’s sound is big and bold to match. Quite simply, an essential purchase for anyone remotely interested in British music.

– Gramophone

Ravel, Debussy & Massenet / Bavouzet, Tortelier, BBC Symphony

Bavouzet gets the tempo changes in Ravel's G Major Concerto absolutely right, following up with one of the most songfully flowing and elegantly shaped accounts of the Adagio on disc, and concluding with an absolutely scorching finale. The Massenet encores are both novel and delightful.

– ClassicsToday.com

Louis Lortie’s Chopin series is achieving landmark status, as confirmed by the increasingly enthusiastic reviews of progressive volumes. This fifth one sumptuously highlights the Polish influences in Chopin’s music, offering gems from among the mazurkas and polonaises. Relatively brief in duration and simple in structure, the mazurkas reveal other aspect of Chopin’s music: quirky melodies, strangely chromatic harmonies, oddly accented rhythms, irregular phrase lengths, and wildly contrasting keyboard textures. They represent a fascinating part of Chopin’s output, for audiences and pianists alike. The vigour of the polonaises featured here, including the first two to be published, confirms Chopin as a radical, yet idiomatic transformer of the genre. The Allegro de concert, which Chopin was said to have kept for his projected return to ‘a free Warsaw’, is another link to his beloved country.

For the sixth volume of his Chopin project, the Canadian pianist and exclusive Chandos Artist Louis Lortie has built a programme that includes works from the earliest to the latest periods in the composer’s life, all of which have connection with or focus on Chopin’s Polish identity. The Hommage à Mozart, Op. 2 is a brilliant set of variations on ‘Là ci darem la mano’ from Don Giovanni. Chopin composed it originally for piano and orchestra, in 1827, when he was just seventeen, and later made this arrangement for solo piano (a common practice at the time). The two Polonaises, Op. 40 date from the late 1830s, and contain some of his most openly nationalistic writing. The first – nicknamed ‘Military’ – evokes sentiments of national identity and pride, whilst the second, more melancholy work portrays feelings evoked by Poland’s vanished statehood. Lortie concludes the album with Chopin’s Fantaisie, Op. 49, from 1841. This work exemplifies the brilliant improvisatory style of Chopin’s writing for piano. These works are interspersed with four sets of Mazurkas, Opp. 6, 24, 41, and 67. Chopin almost single-handedly introduced the Mazurka to Paris when he arrived there in the late 1820s, and continued to compose them throughout his life, transforming the Polish dance form into some of his most dazzling and memorable compositions.

REVIEW:

At moments on this disc, a seasoned sort of beauty takes hold of our ears, wherein a keyboard’s conjuring casts an airy, aural spell. In the battle of dark and light, Lortie’s own brand of luminescence wins out every time.

– The Whole Note (Canada)