Between the Belle Epoque and the Roaring Twenties, around two world wars which had to be healed, in the vertigo of all the rebirths and the march of progress, music needed calm, humanity and natural intimacy. While electricity, the gramophone, the bicycle, and the Parisian metro invited themselves into people's daily lives, while women emancipated themselves after holding the country at arm's length during the Great War, twenty-two French composers cultivated their secret soul in a few piano miniatures. At that time, the language of musicians evolved, without expressing the same urgency of fracture and of liberation as that of the other artistic creators, then influenced by new currents like Dadaism and surrealism. Their compositions were already surreal and free, suspended outside of time like musical hanging gardens and seemingly less concerned with expression than with impression, with ideas than with feelings. Between César Franck, Ernest Chausson and Jehan Alain, all three inscribed in a single century, the composers who have suspended their gardens in this record have almost all lived between the nineteenth and twentieth century. Dupont, Cras, Aubert, D'Indy, Hahn, Ibert, Pierné, Vierne, Samazeuilh, Schmitt, Chaminade, Boulanger, Honegger, Tailleferre, Séverac, Saint-Saëns, Poulenc, Satie… They all represent a particularly prolific period for French music, even if posterity will not be offered to each of them to the extent of their talent. Their hanging gardens, often secret, always interior, are undoubtedly not representative of all the artistic ambitions that their protagonists have deployed throughout their Works, but they present themselves, in depth and sincerity, as small and little-known refuges.
Skillfully evoking nature and bucolic landscapes, each one proposes its own reading of a colored post-romanticism, stopping time and adding the necessary touches of mystery and nostalgia.
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