Children's Corner - Katin

Record and Artist Details

Composer or Director: (Marie-Joseph-Alexandre) Déodat de Séverac, Jacques (François Antoine) Ibert, Gabriel Grovlez, Claude Debussy

Label: Simax

Media Format: CD or Download

Media Runtime: 80

Mastering:

DDD

Catalogue Number: PSC1067

Tracks:

Composition Artist Credit
(L') Almanach aux Images Gabriel Grovlez, Composer
Gabriel Grovlez, Composer
Peter Katin, Piano
En vacances (Marie-Joseph-Alexandre) Déodat de Séverac, Composer
(Marie-Joseph-Alexandre) Déodat de Séverac, Composer
Peter Katin, Piano
(10) Histoires Jacques (François Antoine) Ibert, Composer
Jacques (François Antoine) Ibert, Composer
Peter Katin, Piano
Children's Corner Claude Debussy, Composer
Claude Debussy, Composer
Peter Katin, Piano
Many composers retain something of childhood's sense of wonder, and several have written sets of pieces for, or about, children. Schumann's Kinderszenen and Tchaikovsky's Album for the Young being obvious examples and Debussy's Children's Corner another.
This latter crowns Peter Katin's recital, and it is good that he has chosen to accompany it with other French music rather than the familiar works mentioned above, for these pieces have both substance and charm and are unfailingly well written for the piano. Gabriel Grovlez's L'almanach aux images has affinities with the Debussy—its second number uses a tune that we hear in ''Jimbo's Lullaby'' from Children's Corner, while the sixth piece is another 'little shepherd'—but there is no harm in that and his pieces are the equal of many better known miniatures by Schumann, Tchaikovsky and Grieg. I also like de Severac's En vacances and Ibert's Histoires: in the former, some collectors may recognize the gorgeous 'musical box' piece that Solomon sometimes played as an encore, while in the latter, the witty ''Little White Donkey'' has been played by countless young pianists—though not as neatly and subtly as here. I have long admired Katin as a Debussy pianist, and his account of Children's Corner is sensitive and stylish. Indeed, this recital, mellowly recorded in Norway, is a quiet delight and makes a welcome change from barnstorming programmes intended to impress by speed and power.'

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