BaL 24.03 18 - Debussy: Preludes Book 1

[BBMmk2]

Yes it's a while since I'd listened to the DG recording, which, while magnificent in the Danseuses and Ce qu'a vu vent, is rather tiresome in some of the other Preludes. I much prefer his live version, from the Vatican in April 1977, which I have on the Aura label. Here there IS as much spontaneity as you ever get from Michelangeli, and lots of colour and invention, and somehow you are on the edge of your seat to see what happens next. No good though if you are allergic to slightly de-synchronised hands!

One of my favourite Debussy discs this. Silky smooth playing!

[Richard Barrett]

Nobody has mentioned Pollini. Why not?

[Eine Alpensinfonie]

Anyone heard Stokowski's transcription for orchestra of The Submerged Cathedral? Quite masterful, IMO. Better than Colin Matthews's.

Yes. I'm not a fan of all Stokowski's orchestrations (Pictures ... being one I don't rate highly), but this one is excellent.

[Richard Barrett]

And with regard to "orchestrations", my favourites by far (predictably enough, I suppose) are those of Des pas sur la neige, La fille aux cheveux de lin and La cathédrale engloutie (plus pieces from other collections) by Isao Tomita, This is partly because these arrangements are the form in which I first got to know Debussy's piano music...

https://www.youtube.com/watch?v=SeptwXeiY3U

and... I forgot to mention: I listened to Pollini's book 1 earlier on and found it revelatory. I expect many people would prefer their Préludes a lot more fuzzy and veiled than Pollini's, but he shows there's a case to be made for absolute clarity and scrupulous attention to detail, and of course rhythmical subtlety. I recommend that people give it a listen. I've been impressed by Bavouzet and Osborne in these pieces, among others, but I've also always felt that I admired the music from afar rather than really experiencing a strong involvement with it (given that it's far beyond my own meagre pianistic capabilities), until now.

[Richard Barrett]

Gosh, my mention of Pollini's Debussy recordings seems to have shut down this conversation. Are they held in such disdain?

[ferneyhoughgeliebte]

Gosh, my mention of Pollini's Debussy recordings seems to have shut down this conversation. Are they held in such disdain?

I doubt it - "disdain" usually ignites discussion round here!

For some bananas reason, I've never heard Pollini in Debussy - in spite of my great admiration for his Musicianship and pianism, and my very great love of Debussy. Something I'll have to correct next week.

But, in case ignition is wanted/needed - I didn't at all mind the (hitherto universally disdained hereabouts) Zimerman recordings when I heard them (when they first came out). Not enough to wish to spend the full asking price, mind you, but ....


But - to really

[Richard Barrett]

For some bananas reason, I've never heard Pollini in Debussy - in spite of my great admiration for his Musicianship and pianism, and my very great love of Debussy. Something I'll have to correct next week.

You won't regret it I think. It's not Debussy as he's normally portrayed, wandering around in a cloud of perfume, not that I have anything in particular against that way of doing things, but there's a lot more to Debussy's piano music. I haven't heard Zimerman though.

[Pianorak]

. . . For some bananas reason, I've never heard Pollini in Debussy - in spite of my great admiration for his Musicianship and pianism, and my very great love of Debussy. . .

Can't do better than fhg

[Stanfordian]

Gosh, my mention of Pollini's Debussy recordings seems to have shut down this conversation. Are they held in such disdain?

It might be the Jeno Jando fans!

[HighlandDougie]

For some bananas reason, I've never heard Pollini in Debussy - in spite of my great admiration for his Musicianship and pianism, and my very great love of Debussy. Something I'll have to correct next week.

The orthodox view is that Pollini's approach to Debussy is more suited to the Études than necessarily to the Préludes. I have yet to hear his Book 2 but, although I admire his Book 1, there is something a bit too detached about his playing, although I freely admit that it's all a matter of taste. I also don't agree that Debussy is, "normally portrayed ...wandering around in a cloud of perfume". By whom, in particular, if that is the case?

[vinteuil]

.

... intrigued, and - like fferney - an admirer of (a) Pollini and (b) de Bussy - I see I shall have to make a further investment. Lordy, this is provin' an expensive anniversary - but what riches!

.

[silvestrione]

It's not Debussy as he's normally portrayed, wandering around in a cloud of perfume.

Did you not hear the programme, then , Richard? None of the four on the shortlist, and hardly anyone else excerpted, fit this description!

I'm about to give Pollini a spin now. Couldn't reply because I haven't played it for ages, and was rather repelled by the excerpt played, from 'Voiles'.

[Richard Barrett]

Did you not hear the programme, then , Richard?

Not yet, no. I was just wondering why Pollini hadn't been mentioned on this thread. I have indeed heard the shortlisted recordings by Bavouzet, Thibaudet and Osborne, and I do find them pretty perfumey, especially Osborne; as I said, I don't find that a problem in itself, but the music somehow affects me more directly through Pollini's more hard-edged approach.

[HighlandDougie]

Not yet, no. I was just wondering why Pollini hadn't been mentioned on this thread. I have indeed heard the shortlisted recordings by Bavouzet, Thibaudet and Osborne, and I do find them pretty perfumey, especially Osborne; as I said, I don't find that a problem in itself, but the music somehow affects me more directly through Pollini's more hard-edged approach.

Well, I've no idea what you mean by "perfumey" so some explanation would help.

[silvestrione]

Well, leaving questions of perfume to one side, I think Pollini is excellent, often enthralling (in 'Les Collines d'Anacapri', e.g.), and wonderfully simple and expressive in 'La Fille aux Cheveux'. As for 'Ce qu'a vu le vent'...he was made to play this music! As Lipatti would have played it, perhaps, virtuosity wholly in service of the music, elemental yet every note in place.

Perhaps the very best versions have a wider range? Michelangeli can manage tenderness, grace, and quiet poetry, as well as the almost religious gravity that both of them find in 'Danseuse' (and just listen to the final chord in each of the first two phrases, in the Pollini: beautifully struck, beautifully recorded too!). Bavouzet finds so much character in them, with some comedy and irony as well, and the 'down and dirty' abandon that Iain Burnside admired.