Colette Mourey

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

With Gnossienne No. 2, Erik Satie continues his exploration of a free, reduced and deeply introspective musical language. The work was composed towards the end of the 19th century and is characterized...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Gnossienne No. 3, composed in 1890, is one of Erik Satie's most characteristic and visionary works. Free of traditional metrical structures, the music unfolds in a calm, inward-looking atmosphere full...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Je te veux, composed in 1902, is one of Erik Satie's best-known and most endearing works. Originally conceived as a sung waltz, the piece captivates with its elegant melody and subtle, ironic underton...

Core 'ngrato, composed in 1911 by Salvatore Cardillo to a text by Riccardo Cordiferro, is one of the great jewels of the Neapolitan repertoire. This passionate romance depicts the pain of a betrayed l...