The concept of the album was born from the idea of mirroring two compositions that are both closely related and yet so different. The poetic title refers to a quote by Liszt, in which he describes Chopin’s Preludes as “golden dreams,” which I translate into English as Golden Dreams.

I find myself once again immersed in the magical world of the Preludes — in the “golden dreams” of Chopin and Scriabin. Chopin, the sensitive Polish Romantic poet; Scriabin, the mystical Russian modernist who, following in Chopin’s footsteps, composed his own 24 Preludes — an early work, already bold and innovative in language, yet clearly referencing Chopin’s legacy. Two men, pianists, composers, and poets each in their own way. Two contrasting natures, and yet two souls so close to Rachmaninov’s heart — a nod to my previous album program. Indeed, the conception of this album echoes the last one, The Landscapes of the Soul, which centered on Rachmaninov’s 24 Preludes. Here again, we encounter a mirror between two works: Chopin set against Scriabin. My love for Russian music remains unwavering. Inspired by my mentor Boris Petrushansky — who, incidentally, recorded a rare interpretation of Scriabin’s lesser-known 24 Preludes — I continue to be fascinated by these mysterious, nostalgic sound worlds. At once tender reveries and surreal songs, marked by unconventional rhythmic play, oscillating between affection and enigma, fluidity and dramatic evocation, these short pieces form a true kaleidoscope of color. A palette to unfold: broad tonal hues, golden touches, preludes built on the same structural logic as Chopin’s — major key, relative minor, ascending in the circle of fifths... Chopin’s Preludes are so well-known, so eloquent, lyrical, gentle yet exalted, with a refined composition style and a romanticism that is both simple and pure — they are, above all, musical lacework. Is this a change from Rachmaninov? Yes and no. Am I a hopeless romantic? Perhaps I truly am!

« Chopin’s Preludes are compositions of a wholly unique kind. They are not merely, as the title might suggest, pieces intended to serve as introductions to other works; they are poetic preludes, akin to those of a great contemporary poet [Lamartine, as noted by Eigeldinger], which cradle the soul in golden dreams and lift it toward ideal realms. Admirable in their diversity, the depth of craftsmanship and knowledge they contain can only be fully appreciated through meticulous examination. Everything in them appears spontaneous, instinctive, as if born in a single breath. They possess the freedom and grandeur that mark works of true genius. » Liszt, à propos des Préludes de Chopin

Moreover, when it comes to Scriabin’s work, the word “golden” may also refer to the golden ratio. Indeed, Behind the seemingly simple formal structures of his works lies a secret, subterranean world of numerical proportions, golden sections, and Fibonacci sequences — much like the invisible geometry found in the works of Renaissance painters. » (Scriabine et sa quête de l’Absolu !) dixit Manfred Kelkel dans son livre Alexandre Scriabine (Fayard)

HYPNOS

Night is one of the most powerful themes in Romanticism. Indeed, this fascination with the night is closely tied to a love of mystery and dreams. At night, all unreal visions may unfold, as the troubles of the day fade away. Night can also symbolize the decline of human life — twilight then becomes the final breath of existence. Many 19th-century composers explored this nocturnal theme: Schumann with his Nachtstücke, Chopin in his so-called Funeral Sonata (Sonata No. 2) and his Nocturnes, Clara Schumann with her Soirées musicales. A nocturnal world — so radiant, so moving.

RACHMANINOV, ÉTUDES-TABLEAUX, OP.33 & OP. 39
Intégrale

1905 IMPRESSIONS

The Impressions 1905 program brings together piano works from the early 20th century, composed around 1905 by composers associated with the Impressionist movement in France: Debussy, Ravel, and Albéniz. From France to Spain, we are gently carried by Debussy’s Images, Ravel’s Miroirs, and the vibrant energy and fervor of Isaac Albéniz’s Spanish-inspired works. The abundance of aquatic imagery (Reflets dans l’eau, Une barque sur l’océan), the evocation of specific places (El Albaicín, La vallée des cloches), and the celebration of Spain (Albéniz and Ravel’s Alborada del gracioso) give this program of Impressions a powerful visual and spiritual unity. Images resonate with Miroirs and Iberia. These early years of the 20th century were a time of harmonic renewal and musical ideas shaped by fleeting impressions.

RAVEL 
Miroirs (30′) (1904-1905)
Noctuelles
Oiseaux tristes
Une barque sur l’océan
Alborada del gracioso
La vallée des Cloches

DEBUSSY
Images I (15′) (1905)
Reflets dans l’eau
Hommage à Rameau
Mouvement

ALBÉNIZ
Iberia III (20′) (1905-1908)
El Albaicin
El Polo
Lavapiés