A celebration of French chamber music on the 80th anniversary of the D-Day landings in Normandy. No other composer quite epitomises the idea of French music in the way that Debussy’s does, his style a deliberate disassociation from the more rigid 18th-century Germanic structures and rules of harmony. Three transcriptions of his most famous works play a central role: the delicate sounds of the faune, the seductive melodies of Pelléas et Mélisande, and the gorgeous heaving harmonies of La Mer – coincidentally inspired by Debussy’s recollection of the seaside at Eastbourne, here in an ingenious modern version for piano trio by Scottish composer Sally Beamish. The Sancan and D’Indy are lesser-known but hugely enjoyable works of stature, more than mere supporting roles. Let’s not neglect Gabriel Faure, whose centenary of death we mark in 2024 – here we present two of his ever popular shorter works.

Claude Debussy Prélude à l’après-midi d’un faune
Pierre Sancan Sonatine pour flute et piano
Vincent D’Indy Piano Quintet in G minor, Op. 81
Claude Debussy arr. Henri Mouton Pélleas et Melisande (Piano Trio version)
Gabriel Fauré Apres un rêve; Sicilienne (version for cello and piano)
Claude Debussy arr. Sally Beamish La Mer

Anna Wolstenholme, flute
tbc, oboe
Floor Le Coultre, violin
Daniel Lebardt, piano
Anthony Hewitt, piano
Animato Quartet
Maja Bogdanović, cello
Daniel Rowland, violin