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Lily Laskine and Michel Debost

" I am grateful for my instrument's inadequacy ! "

    Lily fairly quickly realised the limits of the harp. She wanted to "hear music, do music, at any price, but otherwise". This is why she refused to limit herself merely to a solo career which would have forced her to play the concert repertoire a thousand or two thousand times. She took the harp at the Paris Opera during the First World War. It was a revolution: it was the first time a woman had ever played in the orchestra, and she was only 16 years old. She then became solo harpist in many orchestras: Lamoureux, Koussevitzky and above all the Walter Straram orchestra. She was a fervent admirer of his, and at this time she experienced one of the richest and most beautiful perts of her musical career. When the Orchestre National was created in 1943, she became its solo harpist.
" My instinct drove me to mix with others. I have always needed others, needed to live in contact with others. "

    In parallel with her solo career, her teaching and her work as solo harpists in orchestras, Lily Laskine recorded with variety singers such as Chevalier, Piaf, Sardou, Tino Rossi and Trenet among others. A great cinema-goer, she worked on film music with Delerue, Lai, Legrand etc. She was also the harpist at the ComŽdie Franaise for over thirty years. She accompanied many famous actors who sang, such as Jeanne Moreau and Pierre Bertin. She was a woman who avidly sought encounters and myriad experiences, who loved and wanted to discover the world's riches.

Lily with jean-Pierre Rampal

" I admire the great classics, but to get that shiver down your spine, it has to be Debussy, Ravel or the Russians... "

    Lily Laskine played everything, and the greatest composers of her time wrote for her. She interpreted magnificent duets with flautists Moyse and Rampal, who greatly admired her. Her records are world famous and her unique, wonderful playing was thus conveyed to every corner of the world which she travelled so little. She has exceptional sonority, and incredibly flexible phrasing, as well as inspired interpretations which welled up from her heart. When she played she "saw" distinct scenes that the music conjured up. She never forgot the musical emotion, the revelation she experienced at twelve when she discovered Debussy's Pelleas. She said "Music is a language of the heart... "
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