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ALDO CICCOLINI
And let’s not forget the French composer with whom you are associated
more than any other – sometimes almost too much so: Erik Satie. How
did you feel about revisiting
Je te veux
, a waltz you have already recorded
and even re-recorded?
A.C.
: I found it still had all its powers of seduction, its cabaret aspect. Satie had
a feeling for melodies that always seem to land on their feet. I remembered with
emotion the period when I started my exploration of his piano music. I have great
admiration for Satie the man, too. A self-effacing character who wrote music of
incredible originality.
And you conclude your anthology of waltzes with a neglected French
composer: Germaine Tailleferre and her
Valse lente
.
A.C.
:What refinement there is in this piece! It’s French elegance, French perfumes,
champagne, a little of all that. You can find wonderfully ambiguous chords in it.
And I must say the piece has also made me want to look further into the output of
a composer we know very little about.