Ernest Redon: Impromptu, Op.10 No.2 @PSearPianist

Uploaded September 2026 | Updated September 2026, 1 week ago

#2 from '5 Feuillets d'album' (Album-leaves), Op.10 (1864)
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Phillip sear plays a wistful piece by the French composer Félix-Ernest Redon (1835–1907).
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Redon came from a prosperous and prodigiously gifted Bordeaux family (whose father had made his fortune in the Americas). Alas, today he is totally overshadowed by his younger brothers. The Symbolist artist Odilon Redon (1840–1916) was one of the greatest of all 19th century French painters (IMHO), and Gaston Redon (1853–1921) was a significant architect, who, inter alia, designed the tomb of César Franck.

The 5 Feuillets d'album are dedicated to Baron (Augustin Jean) Emile d'Etcheverry (1830–1905), who (apart from his aristocratic duties?) found time to be the church organist Saint-Paul-Saint-François in Bordeaux for 56 years, from 1849 to 1905, and also wrote some church and vocal music.

Thumbnail image created with Picsart ( tinyl.co/4WqE ).
#frenchmusic #impromptu
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Played by Phillip Sear
psear.co.uk (Email: piano4@psear.33mail.com
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$Harvey Löhr: The House in the Wood (Das Waldhaus), Op.23 No.12 #12 from Grimm Fairy Tales (Silhouettes), Op.23 (1904) Phillip Sear plays a piece from a set of 25 by the English composer of German descent (Richard) Harvey Löhr (1856–1927). Born in Leicester, Löhr was the youngest son of the German-born organist and conductor George Augustus Löhr (1821–1897), who had settled in England and became a significant figure in the musical life of the East Midlands. The family background provided a distinctly German orientation to Harvey Löhrs early musical formation. He received his advanced training at the Royal Academy of Music, studying under William Henry Holmes, Ebenezer Prout, and Sir Arthur Sullivan. He twice won the prestigious Charles Lucas Medal, in 1877 and 1878, attesting to early distinction as a student composer. He subsequently held the post of organist at St Jamess Church, Marylebone, a position that sustained his connection to Londons musical life throughout his professional career. Löhr died in Hastings, and his manuscripts are preserved at the Royal Academy of Music in London. Löhrs piano music occupies a modest but characteristic corner of the late-Victorian keyboard repertoire, oriented towards the lyric miniature and the genre piece rather than the large-scale sonata. A Shakespeare Cycle, Op.19 (1898), a set of twelve pieces published by Schott & Co., represents his most ambitious contribution to the genre, drawing on literary imagery in a manner consistent with the characteristic piece tradition of the period. Other collections include Garden Idylls, Op.25 (1910), an album of twelve lyric pieces, and When We Were Children, Op.26 (1913), six character pieces also issued by Schott, suggesting a secondary market in pedagogical and domestic salon repertoire. Lighter pieces such as Ariel (1889) and Scenes from Fairyland, Op.21 (1901) reinforce an imaginative, illustrative approach to keyboard writing. The piano music forms only a fraction of Löhrs considerable catalogue, which includes five symphonies, two piano concertos, two string quartets, a piano quintet, a piano quartet (Op.15), and a piano trio (Op.22), alongside the operas A Border Raid (1883) and Kenilworth (1906). His choral output embraces the oratorio The Queen of Sheba, Op.20 (1900) and several anthems and part-songs, complemented by a large body of solo song. Though Löhr attracted little sustained critical attention in the twentieth century, his enduring legacy is institutional: a scholarship bearing his name was established at the Royal Academy of Music for British-born composers between the ages of fourteen and twenty-four, a fund that has supported subsequent generations of student composers, among them Craig Armstrong.” (Perplexity AI, 21 June 2026). Das Waldhaus (The House in the Wood, KHM 169) is a Grimm fairy tale classified as ATU 431, The House in the Forest. A poor woodcutter sends each of his three daughters into the forest with his dinner, but the elder two lose their way and come upon a hut inhabited by an old man, a hen, a cock, and a brindled cow. Although the man offers them shelter, the sisters behave selfishly, preparing food only for themselves and ignoring the hungry animals; during the night the old man opens a trapdoor and sends each of them down into the cellar. The youngest daughter, by contrast, speaks kindly to the animals and feeds them as well as the old man, and so earns a safe night’s rest; when she wakes, she finds that the hut has become a splendid palace. The old man is revealed to be an enchanted king’s son, condemned by an evil fairy to remain in the form of an old man until a woman appeared who was genuinely kind to both people and animals. He marries the youngest daughter, summons her parents to the wedding, and makes her selfish sisters serve a charcoal-burner until they learn compassion. Like many Grimm tales, the story presents kindness not as mere politeness but as a decisive moral test, with generosity bringing transformation and selfishness leading to humiliation and hard-earned reform. (Perplexity AI, 15 August 2026). Thumbnail image created with Picsart ( https://tinyl.co/4WqE ). #britishmusic #brothersgrimm #woodland Played by Phillip Sear http://www.psear.co.uk (Email: piano4@psear.33mail.com WhatsApp: http://wa.me/441444483794 ) TikTok: https://www.tiktok.com/@pianogems ****See all my latest videos here: https://tinyurl.com/phillip210 ****$

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