Forestissimo: Un Hommage A La Foret – A Love Letter to the Woods That Feels Like Home
Let me tell you about Forestissimo: Un Hommage A La Foret, this little gem of an album by Olivier De Spiegeleir. Released in 1992 under Pavane Records, it's not your typical classical compilation—it’s more like a walk through the forest with someone who knows every leaf and shadow. The whole thing is a tribute to forests, but honestly, it feels like a tribute to life itself.
The record brings together works from big names like Debussy, Grieg, Sibelius, and Villa-Lobos—all reimagined for solo piano by De Spiegeleir. You can hear his love for these pieces in every note. He doesn’t just play; he listens to what the composers were trying to say way back when they wrote them. And somehow, all those different voices come together into something that feels cohesive, like one big story told tree by tree.
Now, I gotta single out two tracks because, wow, they stuck with me. First up is "Sous-bois" (track 1). It opens the album, and man, it sets the tone perfectly. Imagine stepping into a quiet forest early in the morning—the air still damp, sunlight filtering through branches. That’s what this piece does to you. Grieg’s melody feels simple at first, almost shy, but then it grows richer as if the woods are waking up around you. De Spiegeleir plays it so delicately, like he doesn’t want to disturb the silence. Honestly, it made me miss places I’ve never even been to.
Then there’s "Feuilles Mortes" (track 22), which hits completely differently. This one comes from Debussy, and oh my god, it breaks my heart every time. The title means "dead leaves," and yeah, it sounds sad, but it’s also kinda hopeful? There’s this bittersweetness running through it, like remembering something beautiful that’s gone but knowing it mattered while it lasted. De Spiegeleir lets each note breathe here—no rushing, no forcing. By the end, I swear I could feel autumn wind brushing against my face. Weird, right? But that’s how powerful this track is.
What makes Forestissimo special isn’t just the music—it’s how personal it feels. These aren’t just covers or interpretations; they’re conversations between De Spiegeleir and the composers, between him and nature, maybe even between him and himself. Listening to it, I kept thinking how rare it is to find art that feels this alive, especially when it’s nearly 30 years old.
And here’s the kicker: the album reminds you how much we need forests—not just physically, but emotionally. They’re part of us whether we realize it or not. So next time you’re feeling lost, put on Forestissimo. Let it take you somewhere green, somewhere wild, somewhere real. Just don’t be surprised if you start talking to trees afterward.
