Debussy's Preludes

[Dancing Divertimentian]

Ms. Kay does a pretty nice Debussy cello sonata, too.

[Todd]

This twofer is like Debussy's Greatest Hits for me.  The set has both books of Preludes, the Estampes, and the two sets of Images.  These comprise my favorite Debussy piano works and would be more than enough in themselves.  The inclusion of Images oubliees, D'un cahier d'esquisses, Masques, and L'Isle joyeuse is a bonus.

The big conceit here is that Philippe Cassard plays the pieces on a 1900 Bechstein for a different sound, rather like Jean Efflam Bavouzet's use of a roughly contemporaneous Steinway D for his Ravel recordings.  Debussy apparently loved the sound of the Bechstein, and this instrument should therefore better represent what Debussy intended, or something like that.  Anyway, the sound of the piano, at least as presented here, is decidedly different than a modern grand.  The overall sound is much warmer.  The middle registers are more naturally reverberant, the low registers less distinct and weighty, and the upper registers less sharp though a tad rougher.  The result much of the time is a pleasing wash of sound.  This is dreamworld Debussy.

The playing is superb.  Cassard has an impressive technique and appears to face no challenges in any of the works.  His dexterity and command are on full display where speed and articulation are called for.  Rarely have I heard such a lovely, flowing rendition of Ondine.  Les tierces alternees and Feux d'artifice end the second book of Preludes with panache.  Indeed, he seems most at home in the second book.  Not that the first book isn't superb.  Okay, he doesn't build up The Engulfed Cathedral to the scale I often prefer, but that's a quibble.  The other works are nearly as successful.  The Estampes starts off with one of the most beguiling takes on Pagodes I've heard.  The other two movements, though, are more forceful and serious than the norm.  The same can be said of all the other works.  And of the Preludes, really.  Mr Cassard most definitely takes his Debussy seriously.  Were it not for the soundworld the piano creates, there is a chance that the music would come across a tad severe.  As it is everything blends nicely.  Cassard's Debussy doesn't quite reach the exalted heights for me, but it is very high grade nonetheless.

Sound is quite good for these early 1990s recordings from Musicdisc, now on Accord, allowing for the difference in piano sound described above.  (The lack of modern clarity may turn some off.)  I know that Cassard recorded the complete works in the 90s, and I would not be averse to hearing the rest.  He apparently has also made a specialty of playing the complete works in consecutive concerts, something else I wouldn't mind hearing.

[james66]

Great, another period instrument recording of Debussy! I've been on the lookout for these, they are rare indeed. I've only heard Alain Planes for period Debussy. How does Cassard compare, Todd?

[Todd]

How does Cassard compare, Todd?

Don't know, I haven't heard Planes.  That will probably happen a bit later this year.

[Todd]

Monique Haas is one of those names I've only seen until now.  I faced a choice when sampling her Debussy: DG or Erato?  The DG recordings are earlier and do not encompass all of the works, and would be (I surmised) in poorer sound.  The Erato recordings are later, presumably better sounding, but I thought there may be the possibility that Ms Haas would be past her prime.  Anyway, since the Erato set includes the near-complete works of Debussy and the complete works of Ravel, it seemed the better fit for me.

Ms Haas plays Debussy in a most natural way.  Her playing is of the French school – elegant, swift, unsentimental, though a bit more forceful than some others.  In some ways her playing reminds me of Robert Casadesus and Daniel Ericourt.  In overall approach she is more similar to Casadesus, and in her "natural" Debussy she reminds me of Ericourt, though ultimately she lacks the latter's seeming effortlessness.  Her Debussy is not soft, hammerless, or dreamy.  It is characterized more by precision, (tastefeul) restraint, clear articulation, and clarity.  Everything seems right.  Everything fits.  Even so, it's not my ideal Debussy.  It's unusual to hear something that at once sounds so right yet lacks that something special to make it truly top notch.  Anyway, Haas seems more at home in the swifter preludes, and even though some grandeur and mystery may be missing the The Engulfed Cathedral, say, or some of the wit in something like General Lavine, there is a lot here to enjoy.  So, not world-beating set of preludes, perhaps, but substantial enough to sample many times.  Sound is very good and of its era (late 60s and early 70s).

As to the other works, the rest of her Debussy is, not surprisingly, stylistically similar and quite good.  Given her playing style, I was expecting her Ravel to be top notch, but it was not to be.  Again, her playing very good, but something is missing for me.  It's still very good, just not of Casadesus or Simon or Bavouzet quality. 

[Mandryka]

Monique Haas is one of those names I've only seen until now.  I faced a choice when sampling her Debussy: DG or Erato?  The DG recordings are earlier and do not encompass all of the works, and would be (I surmised) in poorer sound.  The Erato recordings are later, presumably better sounding, but I thought there may be the possibility that Ms Haas would be past her prime.  Anyway, since the Erato set includes the near-complete works of Debussy and the complete works of Ravel, it seemed the better fit for me.

Ms Haas plays Debussy in a most natural way.  Her playing is of the French school – elegant, swift, unsentimental, though a bit more forceful than some others.  In some ways her playing reminds me of Robert Casadesus and Daniel Ericourt.  In overall approach she is more similar to Casadesus, and in her "natural" Debussy she reminds me of Ericourt, though ultimately she lacks the latter's seeming effortlessness.  Her Debussy is not soft, hammerless, or dreamy.  It is characterized more by precision, (tastefeul) restraint, clear articulation, and clarity.  Everything seems right.  Everything fits.  Even so, it's not my ideal Debussy.  It's unusual to hear something that at once sounds so right yet lacks that something special to make it truly top notch.  Anyway, Haas seems more at home in the swifter preludes, and even though some grandeur and mystery may be missing the The Engulfed Cathedral, say, or some of the wit in something like General Lavine, there is a lot here to enjoy.  So, not world-beating set of preludes, perhaps, but substantial enough to sample many times.  Sound is very good and of its era (late 60s and early 70s).

As to the other works, the rest of her Debussy is, not surprisingly, stylistically similar and quite good.  Given her playing style, I was expecting her Ravel to be top notch, but it was not to be.  Again, her playing very good, but something is missing for me.  It's still very good, just not of Casadesus or Simon or Bavouzet quality.

Yes -- I think I agree with you. I like her Debussy maybe more than you, partly because it shows anopther, non-dreamy, less impressionistic way. And that's interesting. I prefer her to Bavouzet in the preludes. I don't know Casadesus's.

Do you know Cortots first recording of the preludes?  The one on Biddulph? Also lively, swift, jazzy, not dreamy. Better than Haas.

[Todd]

Do you know Cortots first recording of the preludes?

Alas, no.  I keep meaning to get his Debussy but never get around to it.  Perhaps in the fall.

[Mandryka]

Alas, no.  I keep meaning to get his Debussy but never get around to it.  Perhaps in the fall.

I'm curious about what you will think.

The first one is , I think, very good, though the second one is easier to find. Let me know if you want me to upload the first one -- it is out of copyright of course.

[Clever Hans]

I'm curious about what you will think.

The first one is , I think, very good, though the second one is easier to find. Let me know if you want me to upload the first one -- it is out of copyright of course.

Is the Biddulph disc the only source for the earlier recording? The Emi Icon Master Pianist box has Preludes 1-7, 9 and 12 listed as from 1937; 8 from 1931; 10 from 1947; and 11 from 1949.  I wonder if those 1937 dates are correct, seeing as the box release is recent.

[Philoctetes]

The first pianist to turn me on to Debussy was Richter and his BBC recordings of the Preludes. While Michelangeli also sounded good he didn't convince like Richter did. My latest acquisition is the Egorov box set and his Preludes, spread over two CDs, also sound very good to me and very close to Richter for top choice.

Richter for me as well. Here's a link of him playing Book 2:

http://www.youtube.com/watch?v=9IzVTSMPT38

Such a great sound.

[Mandryka]

Is the Biddulph disc the only source for the earlier recording? The Emi Icon Master Pianist box has Preludes 1-7, 9 and 12 listed as from 1937; 8 from 1931; 10 from 1947; and 11 from 1949.  I wonder if those 1937 dates are correct, seeing as the box release is recent.

The preludes on Biddulph are from 1930.

I can't explain your dates on the EMI set – this discography is complicated!

http://fischer.hosting.paran.com/music//Cortot/discography-cortot.htm#Debussy

I'll let you have the 1930s set and you can compare.

[Todd]

While my search for recordings of Debussy's Preludes has not been as exhaustive as for Beethoven's sonatas, I have had to look overseas to find new and interesting recordings to hear.  A case in point is Jacques Rouvier's complete Debussy set on Denon, from the 80s, which now appears to be available only in Japan.  I've read a very few quite good things about his Debussy, so last time I ordered from the land of the rising sun, I decided to throw this in.  I'm immensely glad I did.

This is some of the best Debussy playing I've heard.  Like Monique Haas, Rouvier sounds natural in Debussy.  His style, though, is an even better fit.  While never hazy or dreamy, his sound is often more blended and definitely more colorful than Haas, or for that matter pretty much any of the pianists I've sample lately, save Francine Key. 

In the Preludes, he generally adopts swift-ish tempi (it's a one disc set), but he never sounds rushed.  His tonal palette is nigh on perfect.  His sense of rhythm and timing is about as good as it gets.  Okay, in the louder passages he doesn't display the hammerless "ideal" some look for, but I'm fine with that.  The now old-ish recordings can also sound metallic at times, too, but for the time they were recorded they sound fine.  Throw in magnificent recordings of the other works, including an Estampes that at least matches the best of the best, and this is one heck of a set.  It definitely matches up to my modern favorites – Bavouzet and, at the pinnacle, Beroff (on Denon) – and stands up nicely to Michelangeli, Gieseking, and Ericourt.  This set offers a perfect example of why I keep on buying new versions of oft heard works.  One of my purchases of the year.

[Mandryka]

While my search for recordings of Debussy's Preludes has not been as exhaustive as for Beethoven's sonatas, I have had to look overseas to find new and interesting recordings to hear.  A case in point is Jacques Rouvier's complete Debussy set on Denon, from the 80s, which now appears to be available only in Japan.  I've read a very few quite good things about his Debussy, so last time I ordered from the land of the rising sun, I decided to throw this in.  I'm immensely glad I did.

This is some of the best Debussy playing I've heard.  Like Monique Haas, Rouvier sounds natural in Debussy.  His style, though, is an even better fit.  While never hazy or dreamy, his sound is often more blended and definitely more colorful than Haas, or for that matter pretty much any of the pianists I've sample lately, save Francine Key. 

In the Preludes, he generally adopts swift-ish tempi (it's a one disc set), but he never sounds rushed.  His tonal palette is nigh on perfect.  His sense of rhythm and timing is about as good as it gets.  Okay, in the louder passages he doesn't display the hammerless "ideal" some look for, but I'm fine with that.  The now old-ish recordings can also sound metallic at times, too, but for the time they were recorded they sound fine.  Throw in magnificent recordings of the other works, including an Estampes that at least matches the best of the best, and this is one heck of a set.  It definitely matches up to my modern favorites – Bavouzet and, at the pinnacle, Beroff (on Denon) – and stands up nicely to Michelangeli, Gieseking, and Ericourt.  This set offers a perfect example of why I keep on buying new versions of oft heard works.  One of my purchases of the year.

Thanks.

Can you say a bit more about how he plays the Etudes? Good recordings of them are relatively thin on the ground and I'm particularly interested in them -- if they are interesting interpretations  I may well get the set.

[Todd]

Can you say a bit more about how he plays the Etudes?

The Etudes are one of the best things about the set.  I generally find the Etudes a bit too austere and cold, but Rouvier plays with color and an almost jazzy feel at times.  And he infuses some of them with what I can only describe as a sense of fun, at least at times.   

[Mandryka]

The Etudes are one of the best things about the set.  I generally find the Etudes a bit too austere and cold, but Rouvier plays with color and an almost jazzy feel at times.  And he infuses some of them with what I can only describe as a sense of fun, at least at times.   

Sold.

best Etudes I have heard are Richter's. He just makes them sound very very exciting.

[Henk]

While my search for recordings of Debussy's Preludes has not been as exhaustive as for Beethoven's sonatas, I have had to look overseas to find new and interesting recordings to hear.  A case in point is Jacques Rouvier's complete Debussy set on Denon, from the 80s, which now appears to be available only in Japan.  I've read a very few quite good things about his Debussy, so last time I ordered from the land of the rising sun, I decided to throw this in.  I'm immensely glad I did.

This is some of the best Debussy playing I've heard.  Like Monique Haas, Rouvier sounds natural in Debussy.  His style, though, is an even better fit.  While never hazy or dreamy, his sound is often more blended and definitely more colorful than Haas, or for that matter pretty much any of the pianists I've sample lately, save Francine Key. 

In the Preludes, he generally adopts swift-ish tempi (it's a one disc set), but he never sounds rushed.  His tonal palette is nigh on perfect.  His sense of rhythm and timing is about as good as it gets.  Okay, in the louder passages he doesn't display the hammerless "ideal" some look for, but I'm fine with that.  The now old-ish recordings can also sound metallic at times, too, but for the time they were recorded they sound fine.  Throw in magnificent recordings of the other works, including an Estampes that at least matches the best of the best, and this is one heck of a set.  It definitely matches up to my modern favorites – Bavouzet and, at the pinnacle, Beroff (on Denon) – and stands up nicely to Michelangeli, Gieseking, and Ericourt.  This set offers a perfect example of why I keep on buying new versions of oft heard works.  One of my purchases of the year.

I like to purchase that set, but is it OOP? I can't find it at MDT or Amazon.

Henk

[Todd]

I like to purchase that set, but is it OOP? I can't find it at MDT or Amazon.

It's available only in Japan as far as I know.  HMV Japan has it - that's where I bought mine.

[Henk]

Thanks Todd, and thanks for the recommendation too.

[PaulThomas]

It may be sniffed at by the more purist on the board, but Colin Matthew's orchestrations of the Debussy preludes are excellent and have received a fair bit of coverage over here as they were written for the Halle -I can only recommend half of them first hand but they are excellent orchestrations.

http://www.amazon.com/Colin-Matthews-Debussy-Preludes-Postlude/dp/B003XN2JBY/ref=sr_1_5?ie=UTF8&s=dmusic&qid=1282159641&sr=8-5

[Todd]

How slow do you like your Debussy Preludes?  How about really, really slow?  As in over ninety-four minutes slow.  That's slower than slow.  No one else among the two-disc Preludes crowd takes near that long, at least in my experience.  Anyway, after picking up Francine Kay's Analekta recording of Book I, and for the most part enjoying it, except for the claustrophobically close sound, I found that she had previously recorded the entire set for a tiny Canadian label recorded in audiophile fashion.  (The company in question, Audio Ideas, appears to be something like a Canuck Stereophile, but I could be wrong.) 

The same basic traits that I described for her Analekta set hold true here.  Besides being really slow, her playing is tonally lustrous, only very occasionally betraying any steel, and it never, never sounds as though the music is being hammered out.  Indeed, it is almost hammerless, which is one way to play Debussy.  The broad tempi allow some pieces, like La Cathedrale engloutie, to unfold nicely, and there is often a sense of, well, of dreaminess.  Sometimes things may go too far, as in the over six minute La terrasse des audiences du clair de lune, but even then it sounds nice.  Something else that is more evident in this recording is how skilled Ms Kay is at playing piano and pianissimo.  Things sometimes will start quietly, only to become quieter yet, and then a little bit quieter again.  All the while, the tonal palette is widely varied.  Ms Kay does indeed have some fine chops, and she does play some of the music with more traditional timings, and she can spin off the faster passages in pieces like Feux d'artifice easily enough.  She's playing the music the way she wants to play it. 

Now, to the minimalist, audiophile sound – it delivers.  The mid-90s sound is better than many piano recordings of similar vintage, with wide dynamic range and a full sound, with some nice hall (or rather, church) sound included.  The mikes were obviously not too far from the piano as Ms Kay's effort in some loud passages is evident.

Overall, this is a nice set, offering a distinctive take on the works.  It is not a world-beater, nor is it essential listening.  But it's none too shabby.

My only complaint has to do with delivery time.  It took about six weeks for the disc to cross the border, since apparently everyone at Audio Ideas takes the month of August off.  Must be nice.