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07/08/2026
“Elégance”
Jean Cras: Suite en duo
Gabriel Fauré: Sicilienne, opus 78 (trans. Henri Büsser) – 2 Mélodies, opus 46, n° 2: “Clair de lune” (trans. Hurel & Moretti) – Dolly Suite, opus 56, n° 1: “Berceuse” (trans. Edgard Hamelle)
Maurice Ravel: Vocalise-étude en forme de habanera, M. 51 (trans. Hurel &. Moretti)
Jacques Ibert: Entr’acte
Georges Bizet: Carmen: “Entr’acte Act III” (trans. Kurt Walther)
Claude Debussy: Suite bergamasque, L. 75 (trans. Hurel & Moretti)
Clémence de Grandval: Valse mélancolique
Eugène Bozza: Deux Impressions
Reynaldo Hahn: L’Heure exquise, n° 5: ”Les Chansons grises” (trans. Hurel & Moretti)
Juliette Hurel (flute), Isabel Moretti (harp)
Recording: Les Modillons, Vindelle, France (April 2025) – 63’ 06
harmonia mundi HMM 902783 (Distributed by [Integral]) – Booklet in French and English
Buried deep inside the department of the symphony orchestra quietly rest two distinctly pleasant musical instruments which add magical touches of beautiful dimension. Enter the combination of flute and harp, two of the oldest instruments of historic development. While the former traces its origin more than 43,000 years ago, the latter unravels its unique time‑stamp voyage back to, roughly, 3000 BCE. The geneses of wind and string are an audible “re‑start” of lyrical delight. Fast forward now to a beautifully exquisite reveal by two esteemed artists in their own discipline: Mlles Juliette Hurel and Isabelle Moretti, respectively.
“Elégance”, aptly titled, lays claim to “graceful stylishness” but with an emphasis on an élan vers l’avant. Select portions of these œuvres have been transcribed, giving deeper meaning and musical profundity. What surfaces is a distinct clarity and “re‑awakening” that add extracts of curiosity and delight: broadened, many pieces are generously stripped of excessiveness, remotely exposed and organic. Unveiled is a “re‑awakening”, as if turning on a “restart” button.
Overall, these performances have a stronger push to move tempos assertively with less time occupying a heavy pensée. Noticeable instances turn to pieces such as Hahn’s L’Heure exquise, Fauré’s lyrical Sicilienne (later penned into the orchestral suite for Maeterlinck’s Pelléas et Mélisande) and even forwarding-reaches of the Dolly Suite’s “Berceuse”, Kurt Walther’s “take” on the non‑Espana rendition of the “Entr’acte” from Bizet’s 1875 Carmen: fleeting, direct, strong, sans an overtly saccharine appeal. The same can be said when turning the page to Debussy’s Suite bergamasque with its forward momentum dominating both artists and drawn to a strong musical cognizance. Of significance, the rendition of “Clair de lune” is startingly light and effervescent without losing a visual “draw”. This is one of the highlights of the CD. Absolutely superior!
Infrequently highlighted is Clémence de Grandval’s Valse mélancolique, capitalized by Mlle Hurel’s wispy conversation, flittering between indecisive dialogues, both optimistic yet cautiously controlled. This ambiguous resolve reflects passages by Ravel (i.e. “Gaspard de la nuit”) and even Debussy in a mildly capricious string foundation by Mlle Moretti.
The tête-à-tête between Juliette Hurel and Isabelle Moretti maintain balance, lightness, positive-energy and pleasant decorum. The pairing of these two musical instruments lifts this French music with an amiable balance and poignant civility.
...a crystalline beauty!
Christie Grimstad
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