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SCHMITT, FLORENT (1870–1958)

Complete Original Works for Piano Duet and Duo • 4

Humoresques • Lied et scherzo • Trois pièces récréatives • Une semaine du petit elfe Ferme-l’oeil

  • Invencia Piano Duo

Florent Schmitt was one of the most important of all French composers, an individualist who defies the simplicities of classification. The last of this four-disc series explores Schmitt’s Humoresques, Op. 43, a cycle full of unexpected and witty twists, as well as the visionary Lied et scherzo, Op. 54. His gift for characterisation is always evident, not least in Trois pièces récréatives, Op. 37 which is strongly spiced with humour.

This recording was made on a modern instrument: Steinway, Model D


Humoresques, Op. 43 (1911) (00:17:37 )
No. 1. Marche militaire (00:03:14)
No. 2. Rondeau (00:01:18)
No. 3. Bucolique (00:04:45)
No. 4. Scherzetto (00:02:28)
No. 5. Valse sentimentale (00:03:20)
No. 6. Danse grotesque (00:02:22)
Lied et scherzo, Op. 54 (version for piano 4 hands) (1910) * (00:10:59)
3 Pièces récréatives, Op. 37 (1907) (00:04:28 )
No. 1. Quadrille * (00:01:33)
No. 2. Gavotte * (00:01:25)
No. 3. Marche * (00:01:28)
Une semaine du petit elfe ferme-l'œil, Op. 58 (1905) (00:19:38 )
I. La noce des souris (00:02:59)
II. Le cigogne lasse (00:04:18)
III. Le cheval de Ferme-l'œil (00:01:43)
IV. Le mariage de la poupée Berthe (00:04:48)
V. La ronde des lettres boiteuses (00:01:23)
VI. La promenade à travers le tableau (00:04:38)
VII. Le parapluie chinois (00:03:48)
* World Première Recording
Total Time: 00:56:29

The Artist(s)

Invencia Piano Duo

The Invencia Piano Duo has won high critical acclaim for its compelling interpretations of a vast and diverse repertoire. Lutsyshyn was a prizewinner at the Vienna Modern Masters International Performers’s Recording Awards Competition and the William Kapell International Piano Competition. Kasparov won the Albert Roussel Prize at the Orléans International Piano Competition and gave the première of Bartók’s Piano Concerto No. 3 to great acclaim.


The Composer(s)

Florent Schmitt’s compositions are not easily categorised, and his compositional ethos, based on the requirements of the music or on the literary, historical or geographic source of inspiration, varied more in style than that of his contemporaries. From the age of seventeen, when he devoted himself to a career in music, Schmitt maintained his French musical lineage, incorporating as its essential element what he called “seductive harmony”. Yet his individual musical language gathered energy from all that he experienced. In spite of his connections to the music of his countrymen, Schmitt’s music avoids easy classification. He has been labelled a product of German romanticism, French sensibilities, exotic locales, Russian experimentalism, and orientalisms. In reality he is an independent, creative force to be reckoned with; one who made authentically original contributions to twentieth-century music.



“As in the preceding volumes, technical perfection, synchronicity, collaboration as well as warm and sonorous timbre result in an interpretation as perfect as the music itself.” – Classica

“Every piece is well crafted, and played with sensitivity by pianists Andrey Kasparov and Oksana Lutsyshyn” – Fanfare

“Music of quality, stylishly played; surprisingly moreish, too.” – MusicWeb International