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Jeneba Kanneh-Mason

Fantasie

Sony Classical
Release Date: March 7, 2025

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1 Chopin: Piano Sonata No.2 in B-Flat Minor, Op. 35 / I. Grave - Doppio movimento  
2 II. Scherzo  
3 III. Marche funèbre (Lento)  
4 IV. Finale (Presto)  
5 Chopin: Nocturne No. 7 in C-Sharp Minor, Op. 27, No. 1  
6 Chopin: Nocturne No. 8 in D-Flat Major, Op. 27, No. 2  
7 Price: Fantasie Nègre No. 1 in E Minor  
8 Bonds: Troubled Water  
9 Still: Three Visions: II. Summerland  
10 Debussy: La fille aux cheveux de lin  
11 Debussy: Bruyères  
12 Scriabin: 24 Preludes, Op. 11: No. 1 in C Major  
13 Scriabin: 24 Preludes, Op. 11: No. 11 in B Major - Allegro assai  
14 Scriabin: Piano Sonata No. 2 in G-Sharp Minor, Op. 19 "Sonata Fantasy" / I. Andante  
15 II. Presto  
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Jeneba Kanneh-Mason has a passion for curating programmes that cross diverse musical landscapes, and on her debut solo album Fantasie, she takes listeners on a journey that explores connections across different composers’ sound worlds – whether they met, influenced each other, or simply existed in resonance.  

From Claude Debussy, Frédéric Chopin and Alexander Scriabin to Florence Price, Margaret Bonds and William Grant Still, Jeneba presents a programme which is also very personal to her as an artist. “I’ve always loved coming up with quite complex programmes which flow really nicely from one piece to the other and all these works mean a lot to me” she says. “By gathering them here for my debut album, I am not only revealing more of myself as a musician but also sharing the very different styles of music I grew up listening to.”

Frédéric Chopin is central to Jeneba’s repertoire, and she opens with his Second Piano Sonata in B flat minor, Op 35, one of his most powerful works, celebrated for its emotional depth and technical brilliance.  This is followed by The Nocturnes, Op 27, two contrasting pieces that illustrate Chopin’s mastery in evoking complex emotions in music.  “These pieces need to feel as if they’re being improvised” she reveals. “I’ve had to know the notes inside out, so that then when I come to performing it, I can see what happens. With Chopin, I don’t feel like I do the same thing every time.”

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