Célimène Daudet is a sensitive and evocative French pianist, trained at the conservatoires of Aix-en-Provence, Lyon and Paris, with a taste for multi-disciplinary projects. Her latest release plausibly demonstrates the deep connection she sees between French music’s great iconoclast, Olivier Messiaen, and his predecessor, Claude Debussy.

Daudet’s performances of Messiaen’s Préludes, from the most extended, the nearly nine-minute ‘Bells of Anguish and Tears of Farewell’, to the fleeting ‘The Light Number’, at barely two minutes, impart the feeling of sensations grasped from the air, sparkling and evanescent, which are tasted and savoured to the fullest, before being released again into the ether. Debussy’s Préludes, which may seem more substantive due to their greater familiarity, are equally flavourful. ‘La puerta del vino’ is given beautiful shape and narrative flow, while ‘La terrasse des audiences du clair de lune’ seems to emanate a silvery glow.

Despite the maturity and sophistication of Daudet’s conceptions, it is difficult to escape the sense of still greater things in store. I can’t wait.