Kim Barbier: Ballade
Kim Barbier: Ballade
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Album Review
... Stimmungsvoll und evokativ ist der Stopover bei Debussy, der Weg von Bach zu Chopins fünfter Etüde aus dem Opus 25 ist kurz und die Etüde prägnant und glitzernd, während die zwölfte aus demselben Band mit dunklen Farben und viel Kraft auf das Drama der Ersten Ballade hinweist, deren Nachhall Bruno Delepelaires Eclats No. 2 zu sein scheint, ein mehr als passendes Echo auf Chopins Musik. Mit dem Intermezzo op. 118/2 von Johannes Brahms erfolgt dann ein versöhnlicher Rückblick auf eine Ballade, einen Spaziergang, der auf einem wohlklingenden Bechstein so manches an Emotionen gebracht hat.
... The stopover at Debussy is atmospheric and evocative, the journey from Bach to Chopin’s fifth Etude from Opus 25 is short and the etude concise and sparkling, while the twelfth from the same volume hints at the drama of the First Ballade with dark colors and plenty of power, the echo of which seems to be Bruno Delepelaire’s Eclats No. 2, a more than fitting echo of Chopin’s music. Then, with the Intermezzo op. 118/2 by Johannes Brahms, there is a conciliatory look back at a Ballade, a walk that brought many an emotion on a melodious Bechstein.
About New Album
Die Auswahl an Klavierstücken repräsentiert die Vielseitigkeit von Kim Barbiers Fähigkeiten, Erfahrungen und Interessen in einem breiten musikalischen Spektrum. Die Stücke haben zum Teil ihre Biographie geprägt oder sind mit Schlüsselerlebnissen in ihrem Leben und ihrer Karriere verbunden. Durch die Gegenüberstellung entsteht ein Dialog, der sowohl Verbindungen als auch Einflüsse aufzeigt.
French pianist Kim Barbier does not see herself to be a person or an artist who is restricted by borders, be they linguistic, cultural or geographical. On the contrary, despite training at the Paris Conservatoire, which gave her a special familiarity with French composers such as Debussy, Dutilleux, Fauré and Poulenc, her career has been marked by a variety of emphases without being limited to specific preferences. Within the framework of classical music, she feels no commitment to any particular style, epoch or work, and would find it difficult to name any out-standing composers who did not interest her. This is one reason given as to why she has lived in Berlin for a many years. She appreciates the quality, internationality and openness of its musical world, where she has found so many opportunities for creative expression and further development. This is particularly true of a long- standing collaboration with musicians from the Berlin Philharmonic Orchestra. She remains closely connected to the local music scene through these colleagues, especially in the field of chamber music, while at the same time pursuing wide- ranging international concert activities beyond Berlin. The present selection of piano pieces represents the versatility of Kim Barbier’s skills, experience and interests across a broad musical spectrum. In some cases, these have shaped her biography and are asso-ciated with key experiences in her life and career. At the same time, the sequence of compositions represents stations in the development of European music history from the Baroque to the Classical Modern periods. The juxtaposition creates a dialogue that reveals both connections and influences, while resulting in a sovereign musical narrative that is neither strictly nor formally bound. This is inferred by the title Ballade with its reference to the troubadour lyric, a genre that originated in France and was also popular in Germany during the Middle Ages.
DOMENICO SCARLATTI 1685–1757
1 Sonata in E major K. 380 | E-Dur 5.11
2 Sonata in D minor K. 9 | d-Moll 3.21
3 Sonata in D minor K. 141 | d-Moll 3.41
WOLFGANG AMADEUS MOZART 1756–1791
Piano Sonata in C major K. 545 | Klaviersonate C-Dur
4 I. Allegro 3.00
5 II. Andante 4.55
6 III. Rondo allegretto 1.46
CLAUDE DEBUSSY 1862–1918
7 Clair de lune from Suite bergamasque, L. 75 4.59
8 Les collines d’Anacapri from Préludes Livre I, L.117 3.18
JOHANN SEBASTIAN BACH 1750–1825
arr. ALEXANDER SILOTI 1863–1945
9 Prélude in B minor | Präludium h-Moll 3.30
FRÉDÉRIC CHOPIN 1810–1849
Études, Op. 25
10 No. 5 in E minor | e-Moll 3.17
11 No. 12 in C minor | c-Moll 2.35
12 Ballade No. 1 in G minor, Op. 23 | g-Moll 9.27
BRUNO DELEPELAIRE *1989
13 Eclats n°2 4.06
JOHANNES BRAHMS 1833–1897
14 Intermezzo, Op. 118 No. 2 5.55