Many of the pieces performed here by Cocomi appear on her second album, a recital that was initially inspired by the Japanese flautist’s love of the French Post-Impressionist painter Henri Le Sidaner. “When I saw Sidaner’s paintings,” she tells Apple Music Classical, “they reminded me of the French music I love, such as those by Poulenc, Fauré and Debussy.” Performing the first movement of Francis Poulenc’s Flute Sonata was, for Cocomi, “incredibly enjoyable”. And it’s not hard to see why—in this recording, she breathes thrilling life into Poulenc’s irresistible Gallic world with pianist Niu Niu, who also plays alongside Cocomi on her first two albums. Claude Debussy’s Petite Suite was originally scored for piano four hands, but translates beautifully for flute and piano. Cocomi uses a brand-new arrangement in this performance. “I focused on enhancing the lively essence of the original piece,” she reveals, “through meticulous attention to tonguing and rhythm.” Imagination and wonder play their parts in Cocomi’s performance of Gabriel Fauré’s Op. 16 Berceuse (Lullaby). “The lyrical melody of this piece conjures images of a contented baby sleeping in a cradle under soft sunlight,” she says, “and Fauré's music flows so smoothly, adorned with occasional tingling sparkles.” Finally, Fauré’s Après un rêve (After a Dream) also enjoys a new arrangement for flute and piano. “Fauré’s song was originally intended to be sung as a solo,” explains Cocomi, “so I listened to recordings by various singers in order to decide where to take a breath and where to place pauses.” Tokyo’s Kioi Hall, with its ideal chamber acoustics, was the perfect recording studio. “In this wonderful space, I improvise various ideas with Niu Niu,” Cocomi reveals. “and I’m thrilled to present our highly stimulating recital to you all.”