# Debussy's Preludes (Books 1 & 2)



## Captainnumber36 (Jan 19, 2017)

One thing I love about classical music, is that it's performed at a high level of execution. That being said, Debussy's preludes really do it for me. I love the space he leaves in the music, the unconventional melodies, and the feelings of peace he leaves you with, with them.

Great music imo that I am tremendously inspired by.


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## Neo Romanza (May 7, 2013)

Absolute masterwork. For me, one of the most important works in the history of music. I know that's probably an over-exaggeration, but I don't care.

Here are my 'Top 3' favorite recordings (in no particular order):

Paul Jacobs (Nonesuch)










Hiroko Sasaki (Piano Classics)










Arturo Benedetti Michelangeli (DG)


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## Captainnumber36 (Jan 19, 2017)

I own the first one you shared on vinyl!


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## Neo Romanza (May 7, 2013)

Captainnumber36 said:


> I own the first one you shared on vinyl!


Excellent! I own all of Jacobs' Debussy on CD and cherish them. Since you're into vinyl nowadays, try and look for these two recordings:


















I always loved the sound of Nonesuch's earlier recordings --- quite warm sounding.


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## Rogerx (Apr 27, 2018)

Love the music Krystian Zimerman /Arturo Benedetti Michelangeli and Steven Osborne are my favourites, in no particular order .


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## Lisztianwagner (2 mo ago)

I love Debussy's Preludes very much too, they're so colourful, immersive and imaginative pieces; the sound reaches an incredible softness and timbric variety. My favourite is Michelangeli, but I also greatly appreciate Pollini and Ciccolini.


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## buonamusica (2 mo ago)

Very beatifull the Gieseking versions


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## Neo Romanza (May 7, 2013)

buonamusica said:


> Very beatifull the Gieseking versions


Perhaps, but sound quality is most definitely a hinderance for me in Gieseking's Debussy performances. I also believe he's been surpassed several times over by the likes of Jacobs, Pollini, Kocsis et. al.


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## joen_cph (Jan 17, 2010)

One of those endlessly varied, unpredictable works, yet also with a stasis-like quality that just keeps being fascinating, I doubt I'll ever become tired of those two series of _Preludes_ ...

As regards Gieseking, I much prefer other versions than his, but I'm not a fan of his playing generally. Some other historical recordings worth mentioning would be those of Cortot, Ericourt, Gulda and, to a lesser extent, Marcelle Meyer.


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## Mandryka (Feb 22, 2013)

Book 2 was written just three years before the etudes, yet to me the etudes sound like they're from a different composer -- do you agree?


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## Neo Romanza (May 7, 2013)

Mandryka said:


> Book 2 was written just three years before the etudes, yet to me the etudes sound like they're from a different composer -- do you agree?


No really. Debussy was pushing himself in new musical directions by the early 1910s, especially in _Book II_ of the _Préludes_, but I believe he always retained a certain compositional "fingerprint" in all of his mature works and the _Études_ are no different. It has a lot to do with his harmonic and melodic language, but also his singular approach to rhythm. If you listen to the movement in the _Études_ called _Pour les arpèges composés_, we hear Debussy as we always have heard him. Also, _Pour les sonorités opposées_ has his individual stamp all over it. So, no, not really a different composer, but certainly a composer pushing himself in new creative directions.


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## Mandryka (Feb 22, 2013)

Neo Romanza said:


> No really. Debussy was pushing himself in new musical directions by the early 1910s, especially in _Book II_ of the _Préludes_, but I believe he always retained a certain compositional "fingerprint" in all of his mature works and the _Études_ are no different. It has a lot to do with his harmonic and melodic language, but also his singular approach to rhythm. If you listen to the movement in the _Études_ called _Pour les arpèges composés_, we hear Debussy as we always have heard him. Also, _Pour les sonorités opposées_ has his individual stamp all over it. So, no, not really a different composer, but certainly a composer pushing himself in new creative directions.


I've heard it said that Bk 2 of the preludes is particularly interesting because of rhythm. Can someone (you?) spell out this idea to me?


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## Lisztianwagner (2 mo ago)

Mandryka said:


> I've heard it said that Bk 2 of the preludes is particularly interesting because of rhythm. Can someone (you?) spell out this idea to me?


I don't know if it is what you meant before, but in the Book 2 of the _Preludes _there's a suggestive use of polyrhythm, when two or more rhythms are played simultaneously; for example in the third Prelude, _La Puerta del vino_, the left hand plays in a rhythm of habanera, most of the passages with an ostinato of two notes, while the right hand evokes a rhythm of flamenco.


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## Kivimees (Feb 16, 2013)

And for a somewhat different perspective:


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## Captainnumber36 (Jan 19, 2017)

Kivimees said:


> And for a somewhat different perspective:
> 
> View attachment 180936



Interesting, I'd like to hear that!


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## Neo Romanza (May 7, 2013)

Kivimees said:


> And for a somewhat different perspective:
> 
> View attachment 180936


A lot of these orchestrations are interesting, but I'll always prefer the original versions for solo piano. Debussy did have many friends through the years help him orchestrate some music mainly due to time constraints like André Caplet, Charles Koechlin and Henri Büsser, but these were given the seal of approval from the composer himself. I often wonder what he would've thought of a lot of these more recent orchestrations.


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## Dirge (Apr 10, 2012)

*Préludes I & II* (1909–10 & 1912–13)
:: Gieseking [Columbia ’36/’38 & ’39] APR

Spotify link

I’m not a fan of Gieseking’s postwar recordings of Debussy, but his prewar recordings “click” with me. Tempos are unlingering without any sense of hurry/haste, rhythmic playing is sophisticated without calling attention to itself, every prélude is beautifully characterized without resorting to caricature, and dynamics are as finely graded/terraced as you’ll hear owing to Gieseking’s famous touch—the ultimate fulfillment of Debussy’s “hammerless” prescription. If his playing isn’t as bold and dynamic as some, it’s more insidiously seductive and atmospheric than any to my ears.


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## Mandryka (Feb 22, 2013)

Neo Romanza said:


> No really. Debussy was pushing himself in new musical directions by the early 1910s, especially in _Book II_ of the _Préludes_, but I believe he always retained a certain compositional "fingerprint" in all of his mature works and the _Études_ are no different. It has a lot to do with his harmonic and melodic language, but also his singular approach to rhythm. If you listen to the movement in the _Études_ called _Pour les arpèges composés_, we hear Debussy as we always have heard him. Also, _Pour les sonorités opposées_ has his individual stamp all over it. So, no, not really a different composer, but certainly a composer pushing himself in new creative directions.


After spending the last few days listening pretty well exclusively to Debussy, I now think you are absolutely right.


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## Captainnumber36 (Jan 19, 2017)

(1) Claude Debussy: Préludes [arranged for orchestra by Colin Matthews] (Elder, Hallé) - YouTube 


I put this on. I enjoy it quite a bit and there will be times when I am in the mood for the orchestral version and others for the OG piano arrangements.


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