Debussy's Corner

[Mirror Image]

Anyway...getting back to Claude.

Has anyone heard this Lubimov set?



Reviews seem rather mixed on it. Some commentators saying that the sound quality obscures some of the piano playing among other things.

There appears to be two Lubimov sets:

[Spineur]

For the Debussy fan-club:  Philippe Cassard who did a complete piano music of Debussy, just published a book



I dont know when the translation is going to be avaliable.

[North Star]

I recall seeing a review (in French, didn't read it...) of it when looking for info on his solo piano cycle.

https://www.actes-sud.fr/catalogue/musique/claude-debussy

[Mirror Image]

For the Debussy fan-club:  Philippe Cassard who did a complete piano music of Debussy, just published a book



I dont know when the translation is going to be avaliable.

Very nice. I'm currently interested in this book:

[asin]1574670689[/asin]

[snyprrr]

I'm trying to get excited over Debussy, but it seems difficult for me. Right now, we're talking Piano Music- of course I'm already familiar with the Sonatas and such; I'm not too tempted by the Orchestral Music right now...

But, as I've been listening to the Piano Music, the first thing that strikes me is the sheer "woah" effects as a simple pieces begins to get exceedingly complex ('The Snow Is Falling'). It certainly appears as the pinnacle of the received tradition... Szymanowski, Bartok, etc., just being appendages and expansions (imo)...

It's been very difficult being stuck in Satieland and Debussyland at the same time. Satie just has the boss melodies; Debussy has the sheer viruosity (cascading notes). I get excited over Satie- but I do enjoy the plethora of notes in Debussy...

Checked out the Late 'Elegie' last night,... seemed almost like an answer to Schoenberg in its... uh... sparse frankness? ... better words needed...


It's odd the feeling I get listening to the Etudes- Debussy as Radical- yet still so French (how can one be French and truly Objective at the same time?? lol)- the birth of Dutilleux?? the Super, Absolute Refinement... the Most Rarified...

then Webern?

[Mirror Image]

I'm trying to get excited over Debussy, but it seems difficult for me. Right now, we're talking Piano Music- of course I'm already familiar with the Sonatas and such; I'm not too tempted by the Orchestral Music right now...

But, as I've been listening to the Piano Music, the first thing that strikes me is the sheer "woah" effects as a simple pieces begins to get exceedingly complex ('The Snow Is Falling'). It certainly appears as the pinnacle of the received tradition... Szymanowski, Bartok, etc., just being appendages and expansions (imo)...

It's been very difficult being stuck in Satieland and Debussyland at the same time. Satie just has the boss melodies; Debussy has the sheer viruosity (cascading notes). I get excited over Satie- but I do enjoy the plethora of notes in Debussy...

Checked out the Late 'Elegie' last night,... seemed almost like an answer to Schoenberg in its... uh... sparse frankness? ... better words needed...


It's odd the feeling I get listening to the Etudes- Debussy as Radical- yet still so French (how can one be French and truly Objective at the same time?? lol)- the birth of Dutilleux?? the Super, Absolute Refinement... the Most Rarified...

then Webern?

I'd say the most complicated Debussy piano works are Préludes, Book II and Études. These are probably the most 'forward-looking' pieces IMHO. It's not difficult to get excited about Debussy for me as these works have provided endless amounts of pleasure. The sheer wonderment of the piano music alone is enough to set the imagination ablaze. The ability that Debussy has in creating all of these unique sonic worlds just with the piano is something I've tried to aspire to in my own guitar playing. To say he's not been an influence would be a huge understatement on my part. I'm sure there are many others who feel this way as well.

[ritter]

I've just walked through La Puerta del Vino, and stood in the Lindaraja patio, in the Alhambra in Granada...

[Mirror Image]

I've just walked through La Puerta del Vino, and stood in the Lindaraja patio, in the Alhambra in Granada...

Awesome! Looks gorgeous, Rafael.

[Alek Hidell]

Anyway...getting back to Claude.

Has anyone heard this Lubimov set?



Reviews seem rather mixed on it. Some commentators saying that the sound quality obscures some of the piano playing among other things.

I have it and enjoy it. I don't recall an issue with the sound (something that would be unusual indeed for an ECM recording). Those reviewers are aware that the music is played on a period instrument, right?

[Mirror Image]

I have it and enjoy it. I don't recall an issue with the sound (something that would be unusual indeed for an ECM recording). Those reviewers are aware that the music is played on a period instrument, right?

Thanks, Alex. I should revisit this recording.

[snyprrr]

His forehead... discuss. I've never seen anything so precipitous...

[Baron Scarpia]

Listened to Arrau's Debussy for the first time.

[asin]B077ZH999P[/asin]

At first look, one might think it odd that Arrau chose to start recording Debussy at when he was approaching 80 years old, but this is a return. There was a fair bit of Debussy in Arrau's early recordings, around 1950.

Listened to Preludes I and II, and Images I so far. My expectation that the aristocratic Arrau would bring more structure to this music than is usually the case was not fulfilled. Actually my first reaction was "too much pedal." But after a second listen it came into focus. The approach is poetic and mystical. Arrau had maintained his impressive virtuosity when these recordings were made, and there are passages which are simply breathtaking, the way the sound opens up in the climactic passages. A very rewarding way to start exploration of the set.

(cross-posted from the listening thread)

[Mirror Image]

His forehead... discuss. I've never seen anything so precipitous...

I can't really say anything, I have a bird nose.

[snyprrr]

Listened to Arrau's Debussy for the first time.

[asin]B077ZH999P[/asin]

At first look, one might think it odd that Arrau chose to start recording Debussy at when he was approaching 80 years old, but this is a return. There was a fair bit of Debussy in Arrau's early recordings, around 1950.

Listened to Preludes I and II, and Images I so far. My expectation that the aristocratic Arrau would bring more structure to this music than is usually the case was not fulfilled. Actually my first reaction was "too much pedal." But after a second listen it came into focus. The approach is poetic and mystical. Arrau had maintained his impressive virtuosity when these recordings were made, and there are passages which are simply breathtaking, the way the sound opens up in the climactic passages. A very rewarding way to start exploration of the set.

(cross-posted from the listening thread)

I also just listened to Arrau's Debussy for the first time last night. "Pleasing" is the word I would use... I can see where it would take a few listens to 'get it'. But, the sound is very good (Philips, but not like for Kocsis)...

Also listened to a little of the Friere,... also very 'pleasing',... yea, both of these guys aren't barnstorming,... nice...

Also did a little Haas vs. Haas...Mr.H having a nice mid-60s sound,... Ms.H having a nice sweep in good sound...

I SAY THAT I MUST HAVE GREEEAT SOUND, BUT THEN THESE EARLIER RECORDINGS AREN'T RECORDED BADLY AT ALL... what to do??




Still, having problems getting excited over Debussy (as opposed to Satie). I was going to get the Jones disc with Jeux/Khamma/Boite, but,... eh,... they just don't seem absolutely essential to me at the moment. And since I lost out of that Kocsis Preludes, I'm up in the air as to what purchasing approach to enact AGAINST Debussy,...lol. I will destroy him with my ordering!!!!!! bwahahaha

[Mirror Image]

Here's an idea, snyprrr, if you're having trouble getting excited about Debussy, then simply don't listen to him and listen to music that you do enjoy. No reason to continue to come here to beat us over the head about how you're trying to like his music when it's evident from your posts that you don't.

[Baron Scarpia]

Went back and listened to Boulez' New Philharmonia Nocturnes (Sony) again. Really extraordinary. In the second half to he last movement (Sirens) there are passages where a solo trumpet has haunting melodic lines against ethereal harmonies from chorus and orchestra. It doesn't get much better.

[asin]B006VKKAXU[/asin]

It's not the most complete, but I think this may be the best Debussy collection.

[San Antone]

Went back and listened to Boulez' New Philharmonia Nocturnes (Sony) again. Really extraordinary. In the second half to he last movement (Sirens) there are passages where a solo trumpet has haunting melodic lines against ethereal harmonies from chorus and orchestra. It doesn't get much better.

[asin]B006VKKAXU[/asin]

It's not the most complete, but I think this may be the best Debussy collection.

Is that the same recording released as this:

[Baron Scarpia]

Is that the same recording released as this:

Yes. The Sony Collections has most of the Boulez/Debussy, except the substituted Munch for La Mer and Prelude to the afternoon of a Faure.

[snyprrr]

Here's an idea, snyprrr, if you're having trouble getting excited about Debussy, then simply don't listen to him and listen to music that you do enjoy. No reason to continue to come here to beat us over the head about how you're trying to like his music when it's evident from your posts that you don't.

cuz I'm always wondering what the others are hearing that I'm not.

Perhaps I'm an 'Early Debussy' fan? For some histrionic reason, the Preludes&Etudes shock my sensibilities- I certainly hear the originality of his Visions, but perhaps thought he was more silky smoove like Ravel. Debussy is altogether more all encompassing (like Mahler vs Sibelius??)...


Here's the thing: when I'm listening to the Preludes, I hear this Satie voice in my head making fun of Debussy's pretensions. I mean, Deb was the Priory of Sion, and Satie was Esoteric-

oh, nevermind, I don't know how to continue... it's just that I'm hearing Debussy @1904/5-1913-15 in terms of the greater context, with WWI, with the Debussy-Satie-Ravel falling out, with Les Six, with the Ragtime... all these things... I do find the Etudes somewhat bizarre, yet still "normal" music, Lisztian?

THE 3 SONATAS I UNDERSTAND AND LOVE!



...maybe it's the way Debussy handles the "grotesque"(out of Prokofiev's "4 characters") that I'm not getting...

or just the rubato?



Obviously, Deb is compelling enough for me to keep searching and listening... maybe he's too ubiquitous and also too myste

[snyprrr]

Does Debussy need a certain amount of natural reverberation to be fully realized? Can Debussy be fully realized in a dry studio setting? Don't act like I'm being silly!

I'm tending to think he does, but it has to be the correct, Debussyian, amount (47%??).