The pages of Debussy are full of waves, and the harp is so good at being the wave! It plays the game so smoothly… What composer would be able to better capture the essence of this instrument? Debussy understood instinctively that its greatest strength was its weakness. Indeed, the harp is a fragile instrument, discreet, intimate. Debussy taught it how to use shadow and light, to explore its borders with silence, to twinkle in the dark, intriguing and attracting rather than vainly trying to project. « Less is more ! »
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1Suite Bergamasque (1890 - 1905) Arrangement : Marie-Pierre LanglametPrélude03:53
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2Suite Bergamasque (1890 - 1905) Arrangement : Marie-Pierre LanglametMenuet04:30
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3Suite Bergamasque (1890 - 1905) Arrangement : Marie-Pierre LanglametClaire de lune04:20
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4Suite Bergamasque (1890 - 1905) Arrangement : Marie-Pierre LanglametPassepied04:00
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5Petite Suite pour 2 violoncelles et harpe (1888-1889) Arrangement : David RinikerEn bateau03:40
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6Petite Suite pour 2 violoncelles et harpe (1888-1889) Arrangement : David RinikerCortège03:49
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7Petite Suite pour 2 violoncelles et harpe (1888-1889) Arrangement : David RinikerMenuet03:13
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8Petite Suite pour 2 violoncelles et harpe (1888-1889) Arrangement : David RinikerBallet03:42
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9Reverie03:53
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10Valse Romantique03:53
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11Docteur Gradus ad Parnassum02:20
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12Deux DansesDanse sacrée04:27
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13Deux DansesDanse profane04:57
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14Deux arabesques pour harpeArabesque 104:08
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15Deux arabesques pour harpeArabesque 204:03
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16Sonate pour violoncelle et harpePrologue04:23
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17Sonate pour violoncelle et harpeSérénade03:34
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18Sonate pour violoncelle et harpeFinale03:46