While known internationally as a Canadian pianist, Alain Lefèvre was born in France and studied piano and composition at the Paris Conservatoire, or Conservatoire National Supérieur de Musique de Paris. It was a deeply formative time for him and, as he has said, “French literature and art are driven by clarity of thought and a form of elegance … Aesthetic considerations are central to French music.”
In 2019 Lefèvre released My Paris Years, a recital album recalling his time as a student and comprising favourite works by Debussy, Ravel, Satie and Franck. His new album, Paris Memories, follows in the same vein with a programme of Franck (Prélude, Fugue et Variation), Debussy (Rêverie, Arabesque No. 2, Ballade, Pour le piano and Danse (Tarentelle styrienne), and works by the man who taught Alain Lefèvre composition: Pierre Max Dubois.
Dubois (1930-1995) was a pupil of the prolific and multi-faceted Darius Milhaud. Like Francis Poulenc, Milhaud was a member of the group of composers known as Les Six, which exemplified the eclectic and energetic spirit of 1920s Paris. Dubois’ music is often characterised by a lively, spiky wit. “I love humour and I don’t aspire to making the world turn in a different direction,” he said, “For me, music is an entertaining and natural affair.”
On the programme are three of Dubois’ ten Études de concert pour le piano: Aria, Scherzando and an African-inspired piece Oubanghi, named after a tributary of the Congo River. The album is completed with a four-movement piano sonata by Dubois, composed in 1984 and dedicated to Alain Lefèvre.
Lefèvre’s piano teacher at the Paris Conservatoire was Pierre Sancan, a distinguished figure whom Lefèvre praises as “above all attentive to revealing the personality of each of his students”. He goes on to say: “While a student at the Paris Conservatoire I had memorable encounters with great figures in the world of music.” These included composer Henri Dutilleux, soprano Mady Mesplé and violinists Christian Ferras and Ivry Gitlis. “Of particular significance was the opportunity to get to know my teacher Pierre Max Dubois, and I’m profoundly moved to have finally been able to record his piano sonata.”