Debussy's Corner

[Dancing Divertimentian]

That doesn't surprise me at all.  The atmosphere is created by intention and control.

Yes, absolutely.

And Haitink's "intention" and "control" are unlike anyone else's in the business. When it works - as it does with his P&M - it's a thing of matchless beauty.

[San Antone]

Just cross-posting this from the WAYLT thread, since it'll likely disappear after a couple days.


Re: Haitink's P&M:

Haitink in absolute control of every bar - per his style - but as often happens while listening to him his power of persuasion has me sold lickety split. Of all the works his "iron grip" would seem most out of place in a work like P&M, which relies so heavily on atmosphere and a revolving door of moods. But seemingly out of nowhere this "control" produces a wonderful sense of freedom and the work has all the spaciousness and moodiness required of it.

Of course the singing plays a huge part in this and overall everything is in good hands.




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I am one of those people who absoutely love this work and must have half a dozen recordings.  This is could be the one I listen to most often.

[Dancing Divertimentian]

I am one of those people who absoutely love this work and must have half a dozen recordings.  This is could be the one I listen to most often.

Yes, same thing with me. I have five recordings of the work, myself (down from six). I like all five but probably Baudo's and Haitink's are my top two faves.

[Mr Bloom]

You can't say that they're is great "intention" and "control" in Haitink's recording : it misses half of Debussy's indications of nuance and phrasing. This recording doesn't survive a listen with the score in hand. There are tons of these indications in P&M, they're essential to the music, and they are simply not played in this recording. On this aspect, it's one of the worst recording of P&M, and overall I think it is subpar.
The most accurate recording I've heard is Abbado's, but the singing is not great. Yet, the orchestra part is probably the closest to what Debussy actually wrote.

[Mirror Image]

I have Abbado's and Boulez's Pelleas et Melisande (his first recording and the DVD performance) and never felt a need for another performance. This said, Abbado wins here for me. He conjures up such a wondrous atmosphere and the Berliners aren't slouches either.

[Dancing Divertimentian]

This said, Abbado wins here for me. He conjures up such a wondrous atmosphere and the Berliners aren't slouches either.

It's actually the Wieners. But I get your drift.

[Mirror Image]

It's actually the Wieners. But I get your drift.

Ah, right you are. A foolish error on my part.

[San Antone]

You can't say that they're is great "intention" and "control" in Haitink's recording : it misses half of Debussy's indications of nuance and phrasing. This recording doesn't survive a listen with the score in hand. There are tons of these indications in P&M, they're essential to the music, and they are simply not played in this recording. On this aspect, it's one of the worst recording of P&M, and overall I think it is subpar.
The most accurate recording I've heard is Abbado's, but the singing is not great. Yet, the orchestra part is probably the closest to what Debussy actually wrote.

Would you provide just one of these examples where what is indicated in the score (and essential to the music) that is ignored by Haitink but observed by Abbado?  I would like to do my own comparison, i.e. to see if Haitink's performance will survive the exercise.

Thanks.

[San Antone]

I found this complete live performance from 2009

https://www.youtube.com/v/d5ymIp1KoW0

Direction musicale : Bertrand de Billy
Orchestre de l'ORTF - Symphonieorchester Wien
Mise en scène au Théatre de Vienne (2009) : Laurent Pelly
Réalisation vidéo-TV au Théatre de Vienne (live, janvier 2009) : Paul Landsmann

Golaud : Roland Naouri (baryton-basse)
Mélisande : Natalie Dessay (soprano)
Pelléas, frère de Golaud : Stéphane Degout (baryton)

[Mr Bloom]

Would you provide just one of these examples where what is indicated in the score (and essential to the music) that is ignored by Haitink but observed by Abbado?  I would like to do my own comparison, i.e. to see if Haitink's performance will survive the exercise.

Thanks.

Sadly I don't have Haitink's recording and couldn't find it online yet.
I will give you examples as soon as I get the recording.

[San Antone]

Debussy ~ Images



Luxembourg Philharmonic Orchestra | Emmanuel Krivine

I think all of Debussy's orchestral works have been recorded by Krivine in the Timpani label.

[Mirror Image]

Debussy ~ Images



Luxembourg Philharmonic Orchestra | Emmanuel Krivine

I think all of Debussy's orchestral works have been recorded by Krivine in the Timpani label.

How is that disc of Debussy on Timpani? I don't really need more Debussy, but inquiring minds want to know.

[San Antone]

How is that disc of Debussy on Timpani? I don't really need more Debussy, but inquiring minds want to know.

I have enjoyed Krivine on other recordings, his complete Beethoven Symphonies (with a period instrument group) is a very good set, IMO.  So far, I like this one too, but if you already have these works by a variety of ensembles, I don't see any reason to add this one.  I am listening on NML. 

[Mirror Image]

I have enjoyed Krivine on other recordings, his complete Beethoven Symphonies (with a period instrument group) is a very good set, IMO.  So far, I like this one too, but if you already have these works by a variety of ensembles, I don't see any reason to add this one.  I am listening on NML.

Cool, thanks for the feedback.

[San Antone]

I am listening to this on MOG right now ~

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So far, I am enjoying the sound of the 1897 Erard very much. 

[Madiel]

Recommendations for a relatively modern set of Preludes?

I have Gieseking, but 1950s is often a bridge too far for me in terms of sound quality (it's okay in one of my common listening environments, but not in any of the others). I seem to be perfectly fine with recordings from the late 60s onwards.

[kishnevi]

I have two complete sets of the Preludes other than Gieseking:  Aimard and Osborne, plus Bavouzet and Ogawa's complete piano works.  Of them I would point to Osborne, but I do like Gieseking most.  Michelangeli also did them all but I have never heard that one,  plus a look at Arkivmusic shows several pianists I have never heard of but I am sure other people here have.
If you are willing to go for Book I alone I would immediately suggest Nelson Friere.

[Dancing Divertimentian]

Recommendations for a relatively modern set of Preludes?

Kocsis or Thibaudet:



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[amw]

Recommendations for a relatively modern set of Preludes?

Lubimov 4eva

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[Madiel]

Kocsis or Thibaudet:



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Am I right in thinking the Thibaudet is also available as part of a larger 'piano works' set?