Damas’es compositional style is akin to Debussy’s, Ravel’s, Poulenc’s and Prokofiev’s but it becomes obvious, even from his earlier work for piano (Thème et Variations – 1956) that he is perfectly able to weld them into a convincing vehicle couched in his own brand of persuasive language. Warmly tonal, this deftly-delineated music strikes immediately with its characteristically “French” timbres.
The Introduction et Allegro with its harp-like opening immediately brings to mind Ravel’s work of the same title. The Sonata is written in the neoclassical idiom, much in the manner of Prokofiev. Apparition has a lovely serene melody whilst the Etudes are perfect in balance and articulation. The Sonatina is very typical of this composer’s style – easy, fluent, and elegant.
Nicholas Unwin, well established pianist, plays with great versatility and style.
On This Recording
- Introduction et Allegro
- Theme et Variations: Andante
- Theme et Variations: Allegro moderato
- Theme et Variations: Poco più mosso
- Theme et Variations: Plus calme
- Theme et Variations: Tempo du theme
- Theme et Variations: Allegro
- Theme et Variations: (Allegro)
- Theme et Variations: Moderato
- Theme et Variations: Poco più lento
- Theme et Variations: Allegretto tranquillo
- Theme et Variations: A tempo poco pui mosso
- Theme et Variations: Moderato
- Theme et Variations: Poco più mosso
- Theme et Variations: Allegro ma non troppo
- Theme et Variations: Molto moderato
- Piano Sonata: I. Allegro
- Piano Sonata: II. Andante
- Piano Sonata: III. Alllegro
- Apparition
- 8 Etudes: Etude No. 1: Allegro
- 8 Etudes: Etude No. 2: Allegretto
- 8 Etudes: Etude No. 3: Vivace
- 8 Etudes: Etude No. 4: Scherzando
- 8 Etudes: Etude No. 5: Allegro deciso
- 8 Etudes: Etude No. 6: Andantino
- 8 Etudes: Etude No. 7: Allegro vivo
- 8 Etudes: Etude No. 8: Presto
- Piano Sonatine: I. Moderato
- Piano Sonatine: II. Andante
- Piano Sonatine: III. Allegro
