# Debussy piano works...What are your favorite recordings?



## Itullian

What are your favorite Debussy piano recordings?
:tiphat:


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## starthrower

I have the Paul Crossley set on Sony that I bought for 10 bucks. It's now available in a larger Sony Debussy box. It sounds fine to my ears. But there are many recordings to choose from.


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## Triplets

I like Michangeli DG recordings and I also enjoy Claudio Arrau in the Preludes


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## Marinera

Claudio Arrau (on you tube, don't own it yet), Noriko Ogawa's set, Mitsuko Uchida's Preludes.


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## Bourdon

Marinera said:


> Claudio Arrau (on you tube, don't own it yet), Noriko Ogawa's set, Mitsuko Uchida's Preludes.


This might interested you.


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## philoctetes

Claudio Arrau and Samson Francois


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## realdealblues

For a complete set of piano works from one artist then I will echo the Paul Crossley set and add Jean-Efflam Bavouzet. Both are excellent.

Samson Francios recorded most of his works and while he can be very idiosyncratic, they are very rewarding to hear. Claudio Arrau's late Debussy recordings are also very rewarding although the tempos are generally on the slow side (Has there been a slower recording of Clair de lune?).

For individual recordings of the large works...

Preludes Books I & II - Steven Osborne
Etudes Books I & II - Mitsuko Uchida
Images Books I & II - Arturo Benedetti Michelangeli
Estampes - Sviatoslav Richter

All come to mind...there are a lot of little short works and for those I usually just stay with Crossley or Bavouzet.


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## D Smith

For the Preludes and especially for the Etudes I would recommend listening to Paul Jacobs. His phrasing and touch works very well for me.


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## joen_cph

I've chosen recordings especially by:

Historical:
Daniel Ericourt, Gieseking (quite a few of the piano works), Cortot, Marcelle Meyer, Robert Casadesus, downloads with George Copeland.

Later half of the 20th century:
S.Richter, Jörg Demus (almost the complete piano works), N. Lee (almost the complete piano works), Livia Rev, Werner Haas, Hans Henkemans, Grant Johannesen, Nikita Magaloff, Malcolm Binns.

More recent decades:
G.Fergus-Thomson (almost the complete piano works), Zimerman, Michelangeli, Kocsis, Fou Tsong, Argerich, Arrau, Uchida

plus a few more.

But there are tons of other interesting or potentially interesting ones - there are so many options as regards individual interpretations of these works. I am tempted by Ciccolini, but I just decided that at least at the moment I can't go on collecting more versions.


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## Josquin13

With a handful of exceptions, I'm generally most drawn to recordings by pianists that have a direct lineage back to Debussy (&/or Ravel, Faure, etc.), and the musical world of Paris at the turn of the last century.

I. Historically, I find Debussy's own piano roll recordings to be fascinating. Interestingly, I wouldn't characterize his piano playing as modern--in contrast to pianists that take a more 20th century view of Debussy's music (such as Paul Jacobs, Pierre-Laurent Aimard, Maurizio Pollini, etc.):

Debussy plays Debussy: 




It's difficult to find current pianists that approach Debussy's music in a similar vein to the composer. It might surprise people but I find the Romanian pianist Radu Lupu's highly imaginative Debussy playing comes closest--though Lupu's training wasn't in the French piano tradition (but rather he studied in Bucharest & Russia). I'm not sure why this is, except that I've heard Lupu play Debussy live, and he has the most perfect piano touch for Debussy's music. (I can recall reading an interview with Andras Schiff where he enthusiastically made the same point.) However, Lupu hasn't recorded any of the solo piano music in the studio, apart from the Violin Sonata (with Chung). Therefore, you have to search out bootlegs of his concerts, where he has played the Preludes:





 (Lupu's Preludes Book 1 begin at 40:35 into the concert--however, the sound quality isn't state of the art, so you'll have to use your imagination to some extent)




.

For me, Lupu is arguably the finest living Debussy interpreter.

II. There are also pianists and students of pianists that can trace their lineage back to Debussy's teaching and guidance--starting with pianists that actually knew the composer: such as George Copeland, Marcel Ciampi, Riccardo Vines, Daniel Ericourt, Marcelle Meyer, & Harold Bauer. As a young woman, Meyer worked on the Preludes with Debussy, and premiered his Etudes in Paris. (She was also Erik Satie's favorite pianist, and it was Satie that introduced her to Debussy.) Ciampi was likewise coached by Debussy on the Preludes and taught his students from his own Preludes score, which contained handwritten notes by Debussy, and markings that Ciampi said came directly from the composer (today Ciampi's score is in the possession of one of his students, Cécille Ousset, who shares it with her students). Vines likewise premiered works by Debussy, and taught Meyer, Poulenc, & other notable pianists. Poulenc later said of his teacher that Vines was the only "virtuoso" that played Debussy & Ravel's music in 1914. (Indeed Vines premiered Ravel's difficult Gaspard de la Nuit in Paris in 1909.) Unfortunately, Vines had a dislike of the recording process, and only recorded Debussy's Soirée dans Grenade (Estampes), Poissons d'or (Images, Bk. 2), Hommage a Rameau (Images Bk.1), and the Etude No. 10--all in the 1930s (see YT links below). Ericourt knew Debussy and his family as a teenager, but was only 15 when Debussy died in 1918--hence, I'm doubtful that he worked in depth with the composer on his music, unlike several others. Bauer was Debussy's choice to give the world premiere his solo piano work, Children's Corner, in Paris in 1908--but frustratingly, Bauer didn't record it. However, Bauer did leave critical editions of Debussy's Reverie & Clair du Lune and recorded both works. (Ravel dedicated the Ondine movement of his Gaspard de la Nuit to Bauer, which tells us just how highly both Debussy & Ravel esteemed his piano playing.) Copeland was a student of Bauer's, and met Debussy in 1911 in Paris. Copeland studied with Debussy for several months, during which time he discussed & played all of Debussy's solo piano works with the composer. Later, Copeland wrote of their encounter:

"I have never heard anyone play the piano in my life who understood the tone of every note as you do," remarked Debussy. "Come again tomorrow." This seemed praise indeed and I did go tomorrow. I found him much more genial than on my first visit, and then I went time after time, until finally I was with him about twice a week for three months. I bought new copies of his works, which he marked for me; I played his works and he criticised my work and showed me what to do and how to do it. In the end, he admitted that I played him just as he wanted to be played and represented to the people." (Wikipedia: Archie Bell. "Copeland and Debussy," The Cleveland Plain-Dealer, January 15, 1913).

While this may sound like a bit of self-promotion, Copeland's Debussy playing does attest to a special relationship between Copeland & Debussy's music, in my opinion, & arguably more so than with several other pianists that knew & worked with Debussy, except perhaps Ciampi & Vines. I'd be most curious if Copeland's Debussy scores have survived (does anyone know?), considering that he wrote Debussy left detailed markings on his scores.

Copeland:









Vines:





Ciampi:





Meyer:





Bauer:









Ericourt:

















Robert Schmitz should also be mentioned. Schmitz likewise knew Debussy and gave the world premiere of his Premiére Rhapsodie. Schmitz recorded the entire Preludes Books 1 & 2 and Suite Bergamasque on Victor LPs, but they've never made it to CD. An analysis of Debussy's piano works by Schmitz was published posthumously after his death in 1950: https://www.amazon.com/Claude-Debus...debussy&qid=1547835320&s=Music&sr=1-2-catcorr. Personally, I don't think Schmitz's Debussy playing is quite as captivating & interesting as Copeland, Ciampi, Bauer, Meyer, and Vines'.

Schmitz:





























Pianist Gaby Casadesus also met Debussy, who was a judge at a piano competition where she was awarded the first prize. She subsequently became friends with Debussy's daughter, Claude-Emma, or "Chou-Chou", as a teenager. But Casadesus doesn't seem to have actually studied with Debussy, although I suppose it's possible that he offered her guidance, considering that she visited his house on numerous occasions. In an interview, Casadesus' student Philippe Bianconi said that his teacher helped him more with the music of Ravel, since she and her husband Robert had known Ravel well and could "transmit direct experience" to him. However, Bianconi also said that in regards to Debussy's solo piano music that Casadesus "helped me enormously with technical aspects as well as with my approach to the colors and subtleties of the music" (from the liner booklet to Bianconi's Debussy's Preludes Books 1 & 2, on the La Dolce Volta label):

Gaby Casadesus:





















Bianconi: 



https://www.amazon.com/Debussy-24-Preludes-Philippe-Bianconi/dp/B00865P3F8

Of the pianists that knew and worked with Debussy, I'd say that Ciampi was probably the most influential teacher of pianists active today: partly because he held the longest tenure in the history of the Paris Conservatoire, and also became head of the piano department at the Menuhin School in England. Among Ciampi's students to record Debussy's piano music are Yvonne Loriod, Cécille Ousset, Micéal O'Rourke, Kathryn Stott, & Eric Heidsieck (while another Ciampi student, Jean-Marc Luisada has performed Debussy in concert, but has yet to make any Debussy recordings--which is something to look forward to, I'd imagine, since fine Chopin pianists usually make very good Debussy pianists, & vice versa):

1. Yvonne Loriod--Debussy Etudes for piano, Books 1 & 2, Erato label, Musical Heritage Society, LP--no CD releases, as far as I can tell. Loriod was subsequently the teacher of Michel Béroff at the Paris Conservatoire, who has made remarkable recordings of Debussy's solo piano music, both for EMI (early in his career) and later a complete survey for Denon: https://www.amazon.com/Debussy-Comp...denon+box&qid=1548185660&s=Music&sr=1-1-spell (which is also available individually). (Of interest, the South Korean pianist, Seong-Jin Cho, whose recent recording Debussy recording for DG has received accolades, studied with Béroff: https://www.amazon.com/Debussy-Imag...debussy&qid=1548185947&s=Music&sr=1-1-catcorr)

Loriod: 




Béroff: 
EMI: 



 & 
Denon: 









2. Eric Heidsieck--A. Debussy Preludes for piano, Book 2, Disques Cassiopée, LP; B. Preludes for piano, Book 2, Disques Cassiopée, LP; C. Debussy L'Isle Joyeuse, Pour le Piano, Hommage A Rameau, Estampes, Disques Cassiopée, LP; C. Live Recital, 1985: Debussy Prelude, Book 2, no. 2, Feuilles mortes: 




Heidsieck, Preludes:






















Estampes: 




3. Cécille Ousset: A. Debussy Pour le piano, Poissons d'or, Les collines, Feux d'artifice, Ce qu'a vu le vent d'Ouest, Pour les degrés chromatiques, Pour les arpéges composés, Jardins sous la pluie, Feuilles mortes, L'Isle joyeuse, Berlin Classics (coupled with Ravel piano works); B. Debussy Preludes Books 1 & 2, Suite Bergamasque, Pour le piano, L'Isle joyeuse, EMI digital. As mentioned, her teacher Marcel Ciampi passed down his marked score of the Preludes to Ousset. This score has been used by one of Ousset's students, pianist Francesco Piemontesi, for his recent Naive recording of the Preludes Books 1 & 2: https://www.amazon.com/Debussy-Prél...i+debussy&qid=1547750195&s=Music&sr=1-1-fkmr0)


























https://www.amazon.com/Claude-Debus...t+debussy&qid=1547749684&s=Music&sr=1-1-fkmr1
https://www.amazon.com/Debussy-Prel...ludes+emi&qid=1547749915&s=Music&sr=1-2-fkmr0
https://www.amazon.com/Debussy-Prel...ludes+emi&qid=1547749915&s=Music&sr=1-1-fkmr0

4. Miceal O'Rourke: Debussy Preludes Book 1 & Estampes, Chandos Records, CD: https://www.amazon.com/Preludes-Boo...e+debussy&qid=1547751289&s=Music&sr=1-1-fkmr2

5. Kathryn Stott: A. Debussy Suite Bergamasque, Deux Arabesques, Reverie, La Plus Que Lente, Images Book 1, Conifer label; B. L'Isle Joyeuse (one of the finest recordings I've heard of this work--see link below), Ballade, Suite Bergamasque, Deux Arabesque, Reverie, La Plus Quie Lente, Images Book 1, Sony (coupled with Ravel piano works):

L'Isle Joyeuse: 
















https://www.amazon.com/Kathryn-Stot...debussy&qid=1547749611&s=Music&sr=1-1-catcorr
https://www.amazon.com/Kathryn-Stot...debussy&qid=1547749611&s=Music&sr=1-2-catcorr

Of Ciampi's students, I'd say that O'Rourke & Heidsieck most play Debussy's music in the Ciampi-Debussy tradition, and I've particularly enjoyed O'Rourke's Chandos recording of the Preludes Book 1 (which unfortunately isn't on You Tube); although his Estampes are surprisingly less animated and characterful than I'm used to, or would consider ideal: after all, this is distinctly Javanese Gamelan influenced music, which represented a new change or development in Debussy's musical aesthetic (after Erik Satie had insisted that Debussy attend a Gamelan concert in Paris). However, the Debussy playing of Ousset and Stott is fascinating too.

To be continued below, in a second post...


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## Josquin13

To continue from above,

III. In this section, I'll cover pianists that were active in Paris during Debussy's era (in the early part of the 20th century), but didn't have a direct connection to Debussy--yet had special connections to other French composers of the period, such as Ravel, Faure, etc., and left us first rate recordings of Debussy's solo piano music:

A. Magda Tagliaferro (who knew Gabriel Pierne, Reynaldo Hahn, & Gabriel Faure):














B. Lazare Lévy (who was a fellow student of Ravel's at the Paris Conservatoire):














Several of Tagliaferro & Lévy's students have recorded excellent Debussy:

Lévy--Monique Haas: she first recorded the Preludes Books 1 & 2 and Etudes for DG, and then in the mid-1960s a complete set of Debussy solo piano works for Erato (at her best, Haas is a favorite of mine):

Haas on DG:

















https://www.amazon.com/Debussy-Prel...s+debussy&qid=1548105007&s=Music&sr=1-6-spell

Haas on Erato: 




Tagliaferro's students--

Cristina Ortiz:
https://www.amazon.com/Impressions-...na+ortiz&qid=1547843415&s=Music&sr=1-1-fkmr0: a favorite disc of mine. 









Daniel Varsano: Today, Varsano is primarily known for his excellent Satie & Faure Dolly Suite (with Tagliaferro). Like Tagliaferro, he had amazing finger control and sense of color at the piano, but unfortunately he died tragically young of AIDS, in Paris, at the age of 33, before he could record much Debussy (or pass on the French tradition that he had learned from his teacher), which is a considerable loss: https://www.discogs.com/Ravel-Claud...ano-French-Piano-Masterpieces/release/8630699.






C. Another French pianist that was active in Paris during Debussy's era was Yvonne Lefébure (1898-1986), who not only left us some very fine Debussy recordings--especially of the Preludes Book 1 (see link below), but also was a highly regarded teacher. She had herself studied with Alfred Cortot. Lefeburé's pupils included Dinu Lipatti, Samson François, Imogen Cooper, Janina Fialkowska, André Laplante, Catharine Collard, Michaël Lévinas, Françoise Thinat, & Évelyne Crochet. Of these--François, Collard, Lévinas, & Thinat have made excellent Debussy recordings, especially François, though I can find his Debussy slightly erratic at times, considering that his later Debussy recordings for EMI were the pianist's final recordings before his tragic, untimely death:

Lefébure:









https://www.amazon.com/Couperin-Deb...yvonne+lefebure+debussy&qid=1547759452&sr=8-2

Lefébure's students--

François (who Alfred Cortot passed onto her, when he found François difficult to teach):





: François' beautifully varied playing of the Debussy Reverie is one of my all-time favorite versions of this piece.












The recent French EMI remasters are the best to date: 
https://www.amazon.com/Samson-Franç...omplete&qid=1547757100&s=Music&sr=1-1-catcorr
https://www.amazon.com/Debussy-Pian...rancois+debussy&qid=1547753445&s=Music&sr=1-1

Catharine Collard: 




https://www.amazon.com/Debussy-Prel...d+debussy&qid=1547753479&s=Music&sr=1-1-fkmr0

Lévinas: 




https://www.amazon.com/gp/product/B00465Z2LC/ref=dm_ws_sp_ps_dp

Thinat (& Jacques Bernier): 




https://www.amazon.com/Debussy-Tran...y&qid=1547754080&s=MP3+Downloads&sr=1-1-spell

D. Jacques Fevrier (1900-1979)--like Robert & Gaby Casadesus, Fevrier was a friend of Ravel's (as was his father). Fevrier was also a student of Marguerite Long: 




Fevrier's students included Georges Pludermacher, Alain Planès, Gabriel Tacchino, & Valerie Tryon, all of whom have made very fine Debussy recordings:

Planès:
















https://www.amazon.com/Gesamtwerk-f...keywords=planes+debussy&qid=1547759560&sr=8-1
https://www.amazon.com/Debussy-Rave...+planes+debussy&qid=1548186353&s=Music&sr=1-1

Pludermacher:













Tacchino: 




E. Vlado Perlemuter (1904-2002)--Perlemuter knew both Faure & Ravel, and worked closely with Ravel on his music (& as with Ciampi and Debussy, Perlemuter's Ravel scores contain many markings given to him by the composer). Personally, I find Perlemuter's Faure playing to be particularly underrated. His students included Michel Dalberto, Jacques Rouvier, Jean-François Heisser, and Roy Howat, who are all known for their Debussy. I've especially liked Dalberto's two Debussy recordings--on RCA (1999): https://www.amazon.com/Debussy-Prel...o+debussy&qid=1548190303&s=Music&sr=1-3-spell, & APARTE (live at the Mantua Festival), as well as Rouvier's 1980s Denon survey (which the old Penquin Guide compared favorably to Claudio Arrau in the Preludes Books 1 & 2): https://www.amazon.com/Debussy-Comp...rouvier+debussy&qid=1548190389&s=Music&sr=1-1.

Dalberto: 



Rouvier: 



Howat: https://www.amazon.com/Vol-4-Debussy-Piano-Roy-Howat/dp/B00026VPP6

In addition, Howat is known for his excellent critical editions of Debussy's solo piano music (published by Durand) and his insightful writings & lectures on Debussy's music, especially his book "Debussy in Proportion" (& if you own Dinu Ciani's Debussy Preludes on DG, the fascinating booklet notes are written by Howat):

https://www.amazon.com/Debussy-Proportion-Analysis-Roy-Howat/dp/0521311454
https://www.amazon.com/Pour-piano-P...roportion&qid=1548017171&s=Books&sr=1-1-spell
https://www.amazon.com/Art-French-P...t+debussy&qid=1548016984&s=Music&sr=1-2-spell








https://royhowat.com/debussy/

Heisser (& Pludermacher): https://www.amazon.com/Debussy-Tran...debussy&qid=1548190427&s=Music&sr=1-1-catcorr









: Here's a rarity: Debussy's transcription of Wagner's Flying Dutchman Overture.





F. Robert Casadesus--who, as mentioned, was a friend of Ravel's. I've never been 100% on Casadesus' Debussy, finding it occasionally too strict or tight, although at other times I admit that he is truly remarkable in this music. Rather, I tend to prefer his wife, Gaby's Debussy, as well as their recordings together as a piano duo (although Robert Casadesus' 'clock-like' Ravel can be fascinating & I gather idiomatic). However, with that said, I have liked the Debussy playing of Casadesus' students, especially Monique Haas (who also studied with Lévy, as noted), Claude Helffer, & to a lesser extent, the American pianist Grant Johannesen. Both Haas and Helffer made excellent recordings of the complete solo piano works of Debussy:

Robert Casadesus: 



Helffer: 




In addition, more recently, one of Helffer's students, Håkon Austbø, has made superb recordings of Debussy's complete piano works for the Simax label (& he's been given excellent sound quality too):










G. Marguerite Long--Long had direct connections to Ravel & Faure: her students included Jacques Fevrier, Samson François, & Philippe Entremont. Both Fevrier and François recorded Debussy and Ravel's complete works.

The above lists are by no means 'complete'. I'm sure I've missed some pianists with direct connections back to Debussy & his world, or to the Paris Conservatoire of Debussy's era (& I'd be interested to hear about any standout Debussy interpreters that I've missed, in that regard). Nevertheless, if you sample many of the links above, I expect you'll begin to hear certain commonalities between pianists--such as generally slower tempi than you might expect, at times, and the creation of a highly atmospheric, colorful, and expressive sound world, along with strong characterful & imaginative interpretations. Indeed, they don't tend to play Debussy with a cold detachment, which in my opinion gives us a very good idea about what is truly 'idiomatic' Debussy playing, at least in relation to the composer's own piano rolls and the recordings left by his students and friends.

I'll write a third post later, & talk about some of my favorite Debussy pianists that don't have any connection back to Debussy's world, but are nonetheless first rate in his music, in my estimation--such as Arturo Benedetti Michelangeli (especially his Images Books 1 & 2), Claudio Arrau, Zoltan Kocsis, Nelson Freire, Livia Rev, and Ivan Moravec.


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## NLAdriaan

Arturo Benedetti Michelangeli does it for me in Debussy, beautifully recorded too and an attractive offer in this CD-Boxset-era


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## Bourdon

NLAdriaan said:


> View attachment 112883
> 
> 
> Arturo Benedetti Michelangeli does it for me in Debussy, beautifully recorded too and an attractive offer in this CD-Boxset-era


 These recordings were a revelation in my youth.


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## meitei

If Planès cannot compete in some of the most famous works, he does well in some of the lesser works.


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## Manxfeeder

Any thoughts on Kathryn Stott?


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## flamencosketches

I didn't really "get" Debussy's piano music until I heard Gieseking's recordings and I still consider him my top pick. I also really like Samson François playing Debussy. I have an album of Michelangeli playing the Preludes but I am not sure how I feel about it just yet. May need to give it another listen with the praise I'm seeing here.


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## starthrower

Focusing only on Images Book I, I enjoyed Gieseking, Charles Rosen, Thibaudet, and Pascal Roge. I wasn't crazy about the popular Bavouzet. I watched some of the video of Michelangeli who plays in somewhat of an old fashioned romantic style but with very precise articulation and phrasing. Revisiting Crossley, he sounded somewhat detached. Aimard struck me as a bit on the precious side, so I'm sticking with the first four I mentioned.


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## flamencosketches

starthrower said:


> Focusing only on Images Book I, I enjoyed Gieseking, Charles Rosen, Thibaudet, and Pascal Roge. I wasn't crazy about the popular Bavouzet. I watched some of the video of Michelangeli who plays in somewhat of an old fashioned romantic style but with very precise articulation and phrasing. Revisiting Crossley, he sounded somewhat detached. Aimard struck me as a bit on the precious side, so I'm sticking with the first four I mentioned.


My two favorites for that specific work are Ivan Moravec, and then one I heard recently, Arturo Benedetti Michelangeli. His Images really stands out for his creative interpretations. Old-fashioned Romantic is right, I guess. Definitely a very interpretive take. Rosen I must hear... and Rogé.


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## Guest

Names that spring to mind are Gieseking, Arrau, Fergus-Thomson, Thibaudet. Just started listen, but Kocsis and Rev have made a good early impression.


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## starthrower

I might grab the cheap Giesking set for historical reference.

A bit of Roge and Rosen.


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## flamencosketches

starthrower said:


> I might grab the cheap Giesking set for historical reference.
> 
> A bit of Roge and Rosen.


Get it while it's cheap. Gieseking is to Debussy what Schnabel is to Beethoven. Not for everyone, but I think what he did for Debussy is a big achievement. He is no longer my favorite, though.

And thank you for the links. I'll check it out!


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## chalkpie

Paul Jacobs - Preludes


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## Guest

Here's a question. Which recording of the Debussy preludes is the least "dreamy?" The most resolute, forceful, staccato, assertive.


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## Chatellerault

Josquin13 said:


> I'll write a third post later, & talk about some of my favorite Debussy pianists that don't have any connection back to Debussy's world, but are nonetheless first rate in his music, in my estimation--such as Arturo Benedetti Michelangeli (especially his Images Books 1 & 2), Claudio Arrau, Zoltan Kocsis, Nelson Freire, Livia Rev, and Ivan Moravec.


About Freire, you're missing his quite direct connection to Debussy, through Guiomar Novaes. Freire studied in Rio de Janeiro and Vienna, but he was a close friend of Novaes in her last decades. He owns her last piano and, if I'm not wrong, much of her archive (unreleased radio recordings etc.) He's rather a Novaes aficionado and, if you compare recordings, his Debussy Preludes Book I (as well as his Chopin Fantasia, mazurkas etc) are quite close to hers in tempo and use of rubato.

He has privately played most of his repertoire to her and it's not a coincidence that part of his repertoire closely mimics hers: they both recorded Debussy's Preludes Book I but not II, both recorded some of Chopin's mazurkas, all of the Nocturnes and Études, only two Mozart Concerti: D minor and Jeunehomme.

Guiomar Novaes (1895-1979) was a Brazilian pianist who was accepted as a pupil of Isidor Philipp (1863-1958) at the Conservatoire de Paris in 1909. Novaes played for a jury that included Debussy, Fauré and Moszkowski. She won first place and Debussy asked her to repeat Chopin's 3rd Ballade. Debussy wrote a letter in which he reports his amazement about the little Brazilian girl who "has the eyes 'drunk with music' and that power to isolate from everything around her - a most rare faculty - that is the characteristic touch of an artist".

Harold C. Schonberg calls Mme. Novaes "Philipp's greatest pupil" and Isidor Philipp's students include Aaron Copland, Youra Guller, Yvonne Loriod, Nikita Magaloff and Federico Mompou. When his friend Claude Debussy was composing new pieces for the piano, he would often ask Philipp for advice on notation so that pianists would be able to better understand his nuances and approach.

Novaes has recorded one LP with Preludes Book I (Vox, 1950s) 









And another LP with Les Collines d'Anacapri, Soirée dans Grenade, Poissons d'Or and Minstrels (Decca, 1962 or 63).





As far as I know, they're not available on CD. It's a pity as her Chopin and Schumann CD's are much loved.

PS: Isidor Philipp has edited at least 6 works by Debussy (https://imslp.org/wiki/Category:Philipp,_Isidor/Editor) and Cortot, a famous editor for Chopin, doesn't seem to have edited any Debussy (https://imslp.org/wiki/Category:Cortot,_Alfred/Editor). We can assume Philipp to be a more important Debussy authority in the first half of the 20th century than Cortot, who had a stronger reputation for Romantic music.

PS2: Just one year younger than Debussy (b.1862), Philipp (b.1863) seems to have had a closer friendship with Debussy than Cortot (b.1877).


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## Chatellerault

Baron Scarpia said:


> Here's a question. Which recording of the Debussy preludes is the least "dreamy?" The most resolute, forceful, staccato, assertive.


Nice question and hard to answer!

If you look for strong pianism, with even some fortissimo here or there, try Samson François (both books) and Yvonne Lefébure (she recorded just Book I).

If you want quick tempi, that don't let it all become hazy, while with a soft finger touch, try:
Walter Gieseking (both books), 
Nelson Freire, Guiomar Novaes (just Book I)

Now if you want a kind of sarcastic, drunk playing that fits especially well a few preludes such as La puerta del Vino, Général Lavine, S. Pickwick Esq. P.P.M.P.C., try Michel Dalberto (both books) and Alicia de Larrocha (didn't record complete books).


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## Mandryka

Baron Scarpia said:


> Here's a question. Which recording of the Debussy preludes is the least "dreamy?" The most resolute, forceful, staccato, assertive.


This is maybe what you want. It is in any case a very interesting recording.









This also may fit the bill, it's hard to say, it's also a very interesting recording


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## flamencosketches

Chatellerault said:


> About Freire, you're missing his quite direct connection to Debussy, through Guiomar Novaes. Freire studied in Rio de Janeiro and Vienna, but he was a close friend of Novaes in her last decades. He owns her last piano and, if I'm not wrong, much of her archive (unreleased radio recordings etc.) He's rather a Novaes aficionado and, if you compare recordings, his Debussy Preludes Book I (as well as his Chopin Fantasia, mazurkas etc) are quite close to hers in tempo and use of rubato.
> 
> He has privately played most of his repertoire to her and it's not a coincidence that part of his repertoire closely mimics hers: they both recorded Debussy's Preludes Book I but not II, both recorded some of Chopin's mazurkas, all of the Nocturnes and Études, only two Mozart Concerti: D minor and Jeunehomme.
> 
> Guiomar Novaes (1895-1979) was a Brazilian pianist who was accepted as a pupil of Isidor Philipp (1863-1958) at the Conservatoire de Paris in 1909. Novaes played for a jury that included Debussy, Fauré and Moszkowski. She won first place and Debussy asked her to repeat Chopin's 3rd Ballade. Debussy wrote a letter in which he reports his amazement about the little Brazilian girl who "has the eyes 'drunk with music' and that power to isolate from everything around her - a most rare faculty - that is the characteristic touch of an artist".
> 
> Harold C. Schonberg calls Mme. Novaes "Philipp's greatest pupil" and Isidor Philipp's students include Aaron Copland, Youra Guller, Yvonne Loriod, Nikita Magaloff and Federico Mompou. When his friend Claude Debussy was composing new pieces for the piano, he would often ask Philipp for advice on notation so that pianists would be able to better understand his nuances and approach.
> 
> Novaes has recorded one LP with Preludes Book I (Vox, 1950s)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> And another LP with Les Collines d'Anacapri, Soirée dans Grenade, Poissons d'Or and Minstrels (Decca, 1962 or 63).
> 
> 
> 
> 
> 
> As far as I know, they're not available on CD. It's a pity as her Chopin and Schumann CD's are much loved.
> 
> PS: Isidor Philipp has edited at least 6 works by Debussy (https://imslp.org/wiki/Category:Philipp,_Isidor/Editor) and Cortot, a famous editor for Chopin, doesn't seem to have edited any Debussy (https://imslp.org/wiki/Category:Cortot,_Alfred/Editor). We can assume Philipp to be a more important Debussy authority in the first half of the 20th century than Cortot, who had a stronger reputation for Romantic music.
> 
> PS2: Just one year younger than Debussy (b.1862), Philipp (b.1863) seems to have had a closer friendship with Debussy than Cortot (b.1877).


That is indeed very interesting, but strictly speaking that sounds like a very indirect connection. In any case, Guiomar Novaes is an amazing pianist who deserves more recognition. Can't speak for Freire as I haven't heard him.


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## joen_cph

Looking forward to getting these early Guldas in a budget 10 CD release;

seems to be 'Debussy with a narrative", according to one review: 
"_The Debussy and Ravel pieces, for instance, are tremendously involving; in these works, Gulda always succeeds in finding a narrative thread, a plot-line (so to speak) that consistently enthralls. This is by no means the light-textured, shimmering impressionistic approach to these French masters we associate with Gieseking. This is Debussy and Ravel painted, as it were, in vivid primary colors. The technical mastery is, in a word, stunning_."

https://www.amazon.com/Gulda-Genie-Rebell-Genius-Rebel/dp/B0044DZ1H6

Samples, interesting and original:
https://www.jpc.de/jpcng/classic/detail/-/art/Friedrich-Gulda-Genie-und-Rebell/hnum/8579652


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## RogerWaters

Just discovered Samson Francois, and he us absolutely fantastic in Debussy.

Seem to be it's highly responsive playing i.e. not homogeneously 'dreamy'. It's aware of the modernism contained of the pieces, without being cold. It's big on colour and texture and not dead to spontaneous and sometimes lighter side. Fantastic.


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## RogerWaters

Baron Scarpia said:


> Here's a question. Which recording of the Debussy preludes is the least "dreamy?" The most resolute, forceful, staccato, assertive.


Zimerman is big and intense. Overly so, imo. Nearly destroys the piano in book 1 no. 7.


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## Kreisler jr

If I take "dry", fastish and not too colorful as the opposite of "dreamy", Casadesus and Gulda. But I didn't like either. I am not well versed in this music but I'd also recommend Jacobs and Francois. Maybe Kocsis as well.


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## Forster

Bavouzet for me. I also have Fergus-Thompson and Austbo. I used Clair de Lune to compare these with others (recorded in stereo). Bavouzet's interpretation just seemed right.


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## John Zito

Overall, I usually reach for Michelangeli, Bavouzet, or Moravec. For a good chunk of the piano music, I imprinted on this DG recording of Alexis Weissenberg:









I still like it very much, but I don't know how well-regarded it generally is. I understand Weissenberg can be an acquired taste.

What are people's thoughts on Steven Osborne's Hyperion recordings of Debussy? I've been meaning to check them out.


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## Josquin13

Less dreamy, you ask?

I agree with others that Samson François's Debussy is less "homogenously dreamy" (even though I like his Ravel even more). Try his "Suite Bergamasque", for example: 



, and "Reverie": 



, since pianists sometimes overdo the romanticism in these two early works, but not so with François.

In addition, pianists that are known for their playing of modern & contemporary music (or music of a more intellectual & abstract content) may work for you in Debussy, since their approach tends to be more attuned to the early modernist elements in Debussy's piano works, rather than his romantic side, which they tend to downplay or minimize (& some would say underplay...): With that in mind, you might look into the Debussy of the following eight pianists:

1. Pierre-Laurent Aimard:
--Preludes Books 1 & 2: 



--Images, Etudes: 













2. Paul Jacobs:
--Preludes Books 1 & 2: 



--Images, Books 1 & 2, Estampes: 



--Etudes, Books 1 & 2, En blanc et noir (with Gilbert Kalish): 



--Suite Bergamasque: Not on You Tube.

3. Yvonne Loriod:
--Etudes: 




4. Haydée Schvartz:
--Preludes 1 & 2: 




5. Anker Blyme:
--Preludes 1 & 2: 




6. Maurizio Pollini:
Preludes:
--Book 1: 



--Book 2: 



--12 Etudes: 




7. Claude Helffer (complete works, analogue, 1960s):
--Here's a link to Helffer's Images 1 & II, Estampes, Suite Bergamasque, & Children's Corner: 



.
--& here's a link to Helffer's Arabesques, Images, & Preludes: 




8. Håkon Austbø (complete works, digital, on Simax): Here is volume 3 of Austbø survey, which unfortunately is comprised of earlier works, so you may need to sample his Debussy playing further (it's in segments or individual movements on YT): 



. By the way, Austbo & Helffer recorded Debussy's four hand & piano duet music together: 




However, in regards to the above recordings, you might finding yourself missing some of the romanticism that is unquestionably a part of Debussy's piano music, at least in his works that were composed prior to 1900. After all, Chopin & Liszt were primary influences on him, until he became gobsmacked by Javanese gamelan music (at Satie's urging & insistence).

So, in addition, I'd also suggest sampling the sharper focused Debussy playing of Georges Pludermacher and Arturo Benedetti Michelangeli, & maybe François Chaplin, as they don't tend to over use the pedal, if memory serves. I recall that Pludermacher's live 24 Preludes & 12 Etudes indeed have a 'modern' feel to them: 



. Although I've probably liked his studio recordings for Harmonia Mundi a bit more:

--Pludermacher, Images I & II, Estampes: 



--Pludermacher, Children's Corner, etc: 




--Not only does Michelangeli have a tendency to temper his use of pedal effects in Debussy, but he achieves such an incredible, distinct & clear separation of the musical lines that at times his Debussy can sound like two pianos! Though some listeners & critics have found Michelangeli's Debussy playing to be on the cold side. I think it can sometimes be a bit cool & aloof, but other times not so (rather, it shimmers). At his best, Michelangeli was a great Debussy player, IMO, although I wouldn't want his Debussy to be the only Debussy that I had with me on my desert island.

--Michelangeli, Preludes Book 1 & Children's Corner, live in concert: 




--For me, Michelangeli's Images Books 1 & II are among the finest ever recorded (along with those by Zoltan Kocsis, Ivan Moravec, Jacques Rouvier, Samson Francois, Monique Haas, Marcelle Meyer, Michel Beroff, & Livia Rev, to name some other pianists that I've liked enormously in the Images): Here is Michelangeli playing "Reflets dans l'eau" from Book I (phenomenally well):






--Here too are François Chaplin's 12 Etudes, which I've liked: 



, along with his Preludes Book 2. Here's a link to his complete Debussy survey: 




---The contemporary composer & pianist Christopher Devine has also recently recorded a fine complete set of Debussy solo piano works for Piano Classics: 



.

Which reminds me that the composer/pianist Noël Lee likewise recorded Debussy's complete solo piano works (for Astrée), and Lee's survey is well worth looking into. I remember especially liking his 1972 recording of the 12 Etudes, for example: 




--Here's a link to Lee's complete Debussy survey: 



. One negative is that the 1960s recordings in this set are AAD. On the other hand, Lee's teacher, Nadia Boulanger, once said that Lee was one of the most complete musicians she'd ever met.

However, I'm not saying that the above pianists are all my own favorite Debussy pianists; though I certainly don't dislike any of them, either, & some are definitely favorites.

Maybe I'll return with a list of my favorite Debussy pianists for each of his solo piano works...


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## Chatellerault

RogerWaters said:


> Zimerman is big and intense. Overly so, imo. Nearly destroys the piano in book 1 no. 7.


I agree with you: he's intense, sometimes excessively so. Like Argerich on her recent recording of Debussy's Fantaisie for piano and orchestra. Both Zimerman and Argerich are not first choice for getting to know Debussy, but quite interesting pianism if you're up for a change.

On the other end of interpretative spectrum Michelangeli seems to me one of the most "dreamy" interpreters of Debussy and perhaps the one who more carefully tried to create the sound that was defined as "piano without hammers" by himself and some of his contemporaries, e.g. Louis Laloy, who described his piano playing (I translate from here):

"Mr. Claude Debussy is a magician. [...] The power of magic will be understood by all those who have listened even once to this supernatural piano where the sounds are born without hammer banging, without string rubbing, they rise transparently in the air [...]. Like one of his spiritual ancestors, F. Couperin, he could write an "Art de toucher le piano", which, by the way, wouldn't betray his secret to the non-initiated." (Laloy, 1914)


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## Forster

Given the large number of pianists recommended here, it could prove difficult to choose one unless you had limitless time to sample them all. Personally, I have to stop somewhere, but it's interesting nevertheless to do some comparisons based, for example, on Josquin13's posts and comments thereafter. So, playing Prelude 7, Zimerman destroying the piano, Gieseking's garbled mono, Michelangeli's smooth (might not be the right word, but he doesn't articulate in the same way that Zimerman does).

Spotify offers dozens of recordings if you search for 'Debussy Presludes' - it's a full time occupation!


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## Malx

I have quickly scanned the thread so if I've missed something forgive me. I see no mention of Noriko Ogawa - are her recordings not up to scratch?


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