Cathy Krier brings together Debussy, Szymanowski
Album recorded in Luxembourg Philharmonie's music chamber offers new interpretation of works of two famous composers.
It's the fifth record for Cathy Krier, who began playing the piano at the age of five at the Luxembourg Conservatoire and who now works as a teacher at the music school of Dudelange.
Her previous works include a combination of Rameau with Ligeti, and Liszt with Berg and Schoenberg. And now her latest album brings together Debussy's "Images" and "Masques" along with a new interpretation of the work of Polish composer Karol Szymanowski.
Krier's new album was recorded in the music chamber of the Philharmonie in Luxembourg.
Although Debussy preferred to use the terms "ambiance" or "realities" over impressionism, he does use evocative and vague titles. But there's nothing undefined about Krier's work, which brings the pieces to life – light and detached speech like "Reflections in the Water", the rigour of "Homage to Rameau" and the force and character of "Perpetual Motion".
In the second work of "Images", which the pianist finds more "poetic, atmospheric and mystical", her finesse finds its full expression. Perfect representations of a world in suspension perceived like a succession of colours by the interpreter.
"Masques" is a small piece by Debussy that reflects the tragedy of human existence, where Krier's interpretation marks moments of intensity, excitement, reflection and disappointment. These become a musical translation of three classical myths as different as "Scheherazade", "Tristan" or "Don Juan" by Szymanowski.
The interpreter truly enters each story with talent and understanding, the aesthetics of the pieces alternating delicacy and transparency, dissonances and breaks.
In the difficulty of this score, Krier delivers music that establishes each feeling in its uniqueness, its character carried by a touch and a sense of speech perfectly mastered and full of grace.
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