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Michel Fleury
Classica, November 2015

In his dazzling triptych Sillages, Aubert reveals himself as Ravel’s “brother in art”… Jean-Pierre Armengaud’s playing possesses a fluid flexibility that is perfectly adapted to these sound waves…His profoundly poetic interpretation demonstrates an intimate knowledge of the score and easily elevates him high above his two great predecessors Christina Ariago (Brilliant) and Marie-Catherine Girod (Opes 3D)… Louis Aubert is our “other Ravel”. Unjustly neglected, it is essential to rediscover his music with this album. © 2015 Classica



David Denton
David's Review Corner, September 2015

Louis Aubert was the son of wealthy French parents who was to share in the good fortunes of the Impressionist era as a colleague of Ravel, Debussy and Koechlin. He was divided his career between that of concert pianist—including the premiere of Ravel’s Valses nobles et sentimentales—and teaching the next generation, composing at times having to take third place in that world. Yet he was to produce works in every genre from opera to solo piano, the latter occupying the same musical world as Debussy. That becomes obvious in the three ‘pictures’ contained in Sillages (Wakes), completed in 1912, and thirteen years after Debussy’s similar scene painting in Nocturnes. A substantial score of some twenty minutes, its shimmering and subtle colours relying much on the skill of the performer. The opening movement, Sur le rivage (On the shore) requires imaginative shaping to come to life, while the mercurial passages of the dream-like finale, Dans la nuit, calls for fast moving fingers. The distinguished pianist, Jean-Pierre Armengaud, writes enthusiastically of Aubert in his programme note, an admiration that continues in his performances. © 2015 David’s Review Corner





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