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Debussy: The Complete Piano works
5CD
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Audio CD, August 18, 2017
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| $13.53 | $14.94 |
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Track Listings
Disc: 1
1 | Préludes, Book 1, L. 117: I. Danseuses de Delphes |
2 | Préludes, Book 1, L. 117: II. Voiles |
3 | Préludes, Book 1, L. 117: III. Le vent dans la plaine |
4 | Préludes, Book 1, L. 117: IV. 'Les sons et les parfums tournent dans l'air du soir' - Ch. Baudelaire |
5 | Préludes, Book 1, L. 117: V. Les collines d'Anacapri |
6 | Préludes, Book 1, L. 117: VI. Des pas sur la neige |
7 | Préludes, Book 1, L. 117: VII. Ce qu'a vu le vent d'ouest |
8 | Préludes, Book 1, L. 117: VIII. La fille aux cheveux de lin |
9 | Préludes, Book 1, L. 117: IX. La sérénade interrompue |
10 | Préludes, Book 1, L. 117: X. La cathédrale engloutie |
11 | Préludes, Book 1, L. 117: XI. La danse de Puck |
12 | Préludes, Book 1, L. 117: XII. Minstrels |
13 | Préludes, Book 2, L. 123: I. Brouillards |
14 | Préludes, Book 2, L. 123: II. Feuilles mortes |
15 | Préludes, Book 2, L. 123: III. La Puerta del Vino |
16 | Préludes, Book 2, L. 123: IV. 'Les fées sont d'exquises danseuses' |
17 | Préludes, Book 2, L. 123: V. Bruyères |
18 | Préludes, Book 2, L. 123: VI. 'General Lavine' - excentric |
19 | Préludes, Book 2, L. 123: VII. La terrasse des audiences du clair de lune |
20 | Préludes Books I & II, Book 2: VIII. Ondine |
21 | Préludes, Book 2, L. 123: IX. Hommage à S. Pickwick, Esq., P.P.M.P.C. |
22 | Préludes, Book 2, L. 123: X. Canope |
23 | Préludes, Book 2, L. 123: XI. Les tierces alternées |
24 | Préludes, Book 2, L. 123: XII. Feux d'artifice |
Disc: 2
1 | Images, Book 1, L. 110: No. 1 Reflets dans l'eau |
2 | Images, Book 1, L. 110: No. 2 Hommage à Rameau |
3 | Images, Book 1, L. 110: No. 3 Mouvement |
4 | Images, Book 2, L. 111: No. 1 Cloches à travers les feuilles |
5 | Images, Book 2, L. 111: No. 2 Et la lune descend sur le temple qui fut |
6 | Images, Book 2, L. 111: No. 3 Poissons d'or |
7 | Pour le Piano, L. 95: I. Prélude |
8 | Pour le Piano, L. 95: II. Sarabande |
9 | Pour le Piano, L. 95: III. Toccata |
10 | Estampes, L. 100: I. Pagodes |
11 | Estampes, L. 100: II. La soirée dans Grenade |
12 | Estampes, L. 100: III. Jardins sous la pluie |
Disc: 3
1 | 12 Etudes, L. 136: I. Pour les cinq doigts |
2 | 12 Etudes, L. 136: II. Pour les tierce |
3 | 12 Etudes, L. 136: III. Pour les quartes |
4 | 12 Etudes, L. 136: IV. Pour les sixtes |
5 | 12 Etudes, L. 136: V. Pour les octaves |
6 | 12 Etudes, L. 136: VI. Pour les huits doigts |
7 | 12 Etudes, L. 136: VII. Pour les degrès chromatiques |
8 | 12 Etudes, L. 136: VIII. Pour les agréments |
9 | 12 Etudes, L. 136: IX. Pour les notes répetés |
10 | 12 Etudes, L. 136: X. Pour les sonorités opposées |
11 | 12 Etudes, L. 136: XI. Pour les arpèges composés |
12 | Etudes, L. 136: XII. Pour les accords |
13 | D'un cahier d'esquisses, L. 99 (Equisse) |
Disc: 4
1 | Tarantelle Styrienne, L. 69 |
2 | Rêverie, L. 68 |
3 | Deux Arabesques, L. 66: No. 1 Andantino con moto |
4 | Deux Arabesques, L. 66: No. 2 Allegretto scherzando |
5 | Nocturne in D-Flat Major, L. 82 |
6 | Valse Romantique, L. 71 |
7 | L'Isle joyeuse, L. 106 |
8 | Le Petit Nègre, L. 114 |
9 | Masques, L. 105 |
10 | Danse Bohémienne, L. 9 |
11 | Ballade: Andantino con moto |
12 | Mazurka, L. 67 (Scherzando - assez animé) |
13 | La plus que lente, L. 121 |
Disc: 5
1 | Suite Bergamasque, L. 75: I. Prélude (Moderato [tempo rubato]) |
2 | Suite Bergamasque, L. 75: II. Menuet (Andantino) |
3 | Suite Bergamasque, L. 75: III. Clair de lune (Andante très expressif) |
4 | Suite Bergamasque, L. 75: IV. Passepied (Allegretto ma non troppo) |
5 | Berceuse Héroïque, L. 138 |
6 | Hommage à Haydn, L. 115 |
7 | Children's Corner, L. 113: I. Doctor Gradus ad Parnassum |
8 | Children's Corner, L. 113: II. Jimbo's Lullaby |
9 | Children's Corner, L. 113: III. Serenade for the Doll |
10 | Children's Corner, L. 113: IV. The Snow is Dancing |
11 | Children's Corner, L. 113: V. The Little Shepherd |
12 | Children's Corner, L. 113: VI. Golliwogg's Cake Walk |
Editorial Reviews
The affinity of Walter Gieseking for the music of Debussy is nothing less than legendary. As Gramophone magazine wrote: “Debussy and Gieseking form an inseparable union where creator and recreator become one and the same person. Had Debussy lived to hear Gieseking he would surely have marvelled at such an uncanny identification with his very spirit.” These miraculous recordings, dating from the early 1950s, continue to set a standard in the interpretation of the French master’s music.
Product details
- Is Discontinued By Manufacturer : No
- Product Dimensions : 5.2 x 5.24 x 0.87 inches; 6.35 ounces
- Manufacturer : Warner Classics
- Original Release Date : 2017
- Date First Available : June 19, 2017
- Label : Warner Classics
- ASIN : B071P1LWXJ
- Country of Origin : USA
- Number of discs : 5
- Best Sellers Rank: #5,482 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #157 in Folk Rock (CDs & Vinyl)
- #195 in Folk (CDs & Vinyl)
- Customer Reviews:
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The pianism of Walter Gieseking also drew my attention and my respect years ago, at first for his Mozart. He seemed a master of sensitivity and delicacy, yet delivered in a straightforward way, without preciousity on one side, nor heavy-handedness on the other. When I eventually heard his Debussy (and Ravel), I was similarly struck, but was even more so struck with what I would call his magic: His playing, at its best, comes across as that of a musician who has allowed himself to become completely immersed into the music, almost as if he has a direct line into the meaning intended by the composer. (And Gieseking's generation of pianists included those whom had heard Debussy play, which may have helped.)
So, musically, this set was a no-brainer for me. The real issue, and curiousity, was the sound. These recordings are mono, made in the early '50's. They are not great recordings (from a sound standpoint); in fairness, I know of none from that era that captured piano sound with great up-front realism. To me, the sound is quite listenable, IF well-remastered. EMI has issued these recordings (or parts of them) a number of times on LP and CD. For my taste, the remasters have at best been only more-or-less successful so far. What is a bit ear-opening is to go back to the original LP's from the '50's. I liked these recordings enough that I searched out the original issues to see how they sounded. (They are actually not that hard to find.) Early UK-pressed stereo EMI's (many released under the Columbia name) are legendary among vinyl collectors. I learned through experimenting that the early mono LP's are quite good also. Mastered through vacuum-tube gear, they have a warm, round, enveloping sound. Other than the surface noise issue (a problem with records that old), I would rather hear those old LP's than any of the Geiseking Debussy reissues up to now.
This set, to my ears, changes the game. Most of the warm, round, enveloping sound is there, yet, of course, with no surface noise. I compared parts of this set directly with the old LP's and with the EMI "ART" CD reissue of the Preludes (which I find a bit hard and fatiguing). (At one time, I've had the other reissues, and did not find them particularly satisfying.) For my ears, this new set pretty much wins (though I would still give the original LP's a slight edge, though in a blind A-B comparison, I could get fooled I think).
So, for listeners who love this music, Gieseking's recording of it is very special, and this is -- to my ears -- hand's down the best realization of it (unless you want to go to the trouble of searching out the original LP issues). I recommend it wholeheartedly. (I should add that I did listen to these SACD's on an SACD player, an EMM, and I cannot comment on the CD-only sound, though given the age of the mono masters, I would be a bit surprised if there were much difference.)
I hope this helps.
Recently I heard the composer's Reverie on the radio. The performance was steely, detached, and had very little pedal. There is a way to play Debussy and a way not to. The music does not need re-evaluation and it is not open to alternative interpretations.
All of which is to say that Gieseking's playing is right. He was gentle, sensitive, insightful, and he more than understood the mystery and wonder of Debussy's music. And, he had technique to burn. But, he always placed his technique in the service of the music, not the other way around.
The latest remastering of these recordings is marvelous. All you hear is the piano and there is a sense of perspective and space. It's wonderful.
At around $15.00 for the five disc set
it's impossible to go wrong with this buy.
My only complaint about anything on the set is L'isle Joyeuse. Gieseking plays it in just under five minutes.
I think that's a little fast, but with everything else being perfection itself I'm certainly willing to allow one small fault.
There are some fine current Debussy
performers on the scene--Aimard, Tirimo, Osborne, Uchida (Etudes)--
but I would say that these early to mid 1950s Gieseking recordings are about as close to definitive in these works as it gets.
Top reviews from other countries
The sound is good enough for the mid-fifties; dry I would say.
Maybe it is that dry sound, and Giesking honest, sincere approach which make them so unique.
No agregaría otra palabra más.