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Debussy: Complete Orchestral Work

Jun Märkl

Classical - Released January 30, 2012 | Naxos

Booklet
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Debussy: Études & Pour le piano

Steven Osborne

Solo Piano - Released November 3, 2023 | Hyperion

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
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Debussy – Rameau

Víkingur Ólafsson

Classical - Released March 27, 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - 5 étoiles de Classica
This program brings together two great French composers, separated by almost two centuries, that we would not think of bringing together spontaneously. But the freedom of mind of the Icelandic pianist looks at it otherwise, who, for his third album with Deutsche Grammophon, wanted to highlight their affinities as their contrasts in the light of their innovative contribution to the musical thought of their time. "I scratch my head wondering why Rameau's music is not played more. Between quality, inventiveness and unpredictability, there is never any element of formula in these pieces”, says Víkingur Ólafsson. By instinctively associating these style characteristics with those specific to Debussy, he decided to make an album of them: "I want to show Rameau as a futurist and underline the deep roots of Debussy in French baroque — and in Rameau's music in particular. The idea is that the listener almost forgets who is who by listening to the album." Debussy, who never stopped defending the French tradition by opposing it to German music, liked the decorative and complex lines of this Baroque composer with a French spirit like his own.An initial idea in the development of this skillfully constructed program, the transcription for piano of Debussy from Prélude to his Cantata La Damoiselle introduces it. Like the album's visual, Víkingur Ólafsson aims to be suggestive even in the accent he gives in Rameau to polyphonic voices supported by a flawless rhythmic impulse, which contrasts with Debussy, whose among other things the beautiful tumultuous Jardins sous la pluie which is played with a large breath in the image of wind load until the light returns. © Qobuz / GG
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Ravel:Bolero, Debussy:La Mer, Mussorgsky:Pictures at an Exhibition

Herbert von Karajan

Classical - Released January 1, 2007 | Deutsche Grammophon (DG)

Hi-Res Booklet
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Stravinsky: Petrushka; Debussy: Jeux, Prélude

Orchestre de Paris

Classical - Released March 8, 2024 | Decca Music Group Ltd.

Hi-Res Booklet
Conductor Klaus Mäkelä was already surrounded by heavy publicity, and his elevation to the music directorship of the Chicago Symphony has only intensified it. Curious listeners haven't had a lot of recordings to choose from; there is some Sibelius and a pair of early Stravinsky recordings with the Orchestre de Paris, of which this 2024 release is the second. Perhaps it was listener curiosity that propelled this recording onto classical best-seller lists in the spring of that year. What listeners get may not be what they expect from the charismatic young conductor; these are fairly low-key recordings of Stravinsky and Debussy. The good news is that concern over Mäkelä possibly being overextended with all his high-profile assignments (he is also set to take over the Concertgebouw Orchestra of Amsterdam) may be misplaced; the Orchestre de Paris plays as if Mäkelä had been on its podium for 30 years. In Stravinsky's Petrushka and especially in Debussy's subtle, rhythmically difficult ballet Jeux (1912), the orchestra is perfectly coordinated and sharp, and Mäkelä wisely chooses the slimmed-down 1947 version of Petrushka, which fits his style. On the other hand, this is definitely low-key Stravinsky, and listeners should sample to see whether it accords with their tastes. The sharp Russian dance rhythms are taken straightforwardly, and even the strictest prude would be hard-pressed to object to the level of eroticism in Debussy's Prelude à l'après-midi d'un faune. Yet again, however, the opening of that piece is magical, with the solo flute seeming to hang in the air. It is not clear how Mäkelä achieved this effect; seating placement may have had something to do with it, but one may be thankful that he did. One awaits further early 20th century music from this wunderkind, but at this point, it is already clear that his ability to control musicians twice or three times his age is not in question.© James Manheim /TiVo
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Debussy: Images 1 & 2; Children's Corner

Arturo Benedetti Michelangeli

Classical - Released January 1, 1971 | Deutsche Grammophon (DG)

Hi-Res Distinctions The Qobuz Ideal Discography
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L'Heure bleue (Boulanger, Debussy, Finzi, Poulenc, Ravel, Waksman)

Quatuor Zahir

Classical - Released March 29, 2024 | Aparté

Hi-Res Booklet Distinctions Qobuzissime
Without any hesitation, we had to award a Qobuzissime to L'Heure bleue, the second album by Quatuor Zahir.  Because in the classical world, the saxophone quartet is still too rare a format on both record and on stage.  Because the impressionist works of Debussy, Ravel, Poulenc, and Boulanger dazzle us, as do the creations of Fabien Waksman and Graciane Finzi. Because of the refinement and sophistication of these arrangements. Because of the impeccable sound recording—always a highlight of the Aparté label.  Because of the beauty of the title, "L'Heure Bleue," which sums up the driving idea behind this powerful record. “This ephemeral moment at the crossroads of day and night—such could be the dream setting for this new opus. An invitation to a dreamlike journey," explain the members of the quartet—Guillaume Berceau, Etienne Boussard, Florent Louman, and Joakim Cielsa. Five years after their debut, the quartet took the time to construct this recital piece by piece, with the patience of goldsmiths or those who have a taste for beauty and precision of gesture. Like a landscape with changing colors and moods—from the lively (Debussy's "Quant j'ai ouy le tabourin") and languorous (Ravel's "Pavane pour une infante défunte"), to the playfulness of the last of Boulanger's Trois Pièces—in L'Heure bleue we find the gentle reminiscence of a forgotten or fantasized era. Whether the works interpreted here are in their original form or arranged, it becomes almost impossible to distinguish between the two categories, as each track is so immediately appealing. The Zahirs interweave their sublime timbres with consummate artistry, with all the interpretations becoming essentials. © Pierre Lamy/Qobuz
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Debussy : Les Trois Sonates, The Late Works

Isabelle Faust

Chamber Music - Released October 5, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
Marking the centennial of Claude Debussy's death, Harmonia Mundi has steadily released multiple volumes in a 2018 series of his complete works, freshly recorded by some of the label's leading artists. Debussy: Les Trois Sonates - The Late Works, like previous titles in the acclaimed series, is presented in a handsome trim-line box, though this release contains only a single CD and a thin booklet, so it is a bit over-packaged. However, the evocative performances of the Sonata for violin and piano, the Sonata for flute, viola, and harp, and the Sonata for cello and piano make the purchase worthwhile, and connoisseurs will regard this as one of the most sublime Debussy releases of the year. Featuring violinist Isabelle Faust and pianist Alexander Melnikov in the Violin Sonata, Debussy's last completed work; flutist Magali Mosnier, violist Antoine Tamestit, and harpist Xavier de Maistre in the Sonata for flute, viola, and harp; and cellist Jean-Guihen Queyras and pianist Javier Perianes in the Cello Sonata, the program boasts artists of exceptional artistry and expressive depth, all ideally suited to these refined and sometimes rarefied works. Interspersed between the chamber compositions are four keyboard works, performed by Tanguy de Williencourt in somewhat introspective readings that complement the more conversational ensemble pieces, though in Debussy's music, the emphasis on atmosphere tends to make everything seem reflective and intimate. The recorded sound is clean and transparent, which is ideal for capturing subtle nuances in quiet passages. © TiVo
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Debussy: Early and Late Piano Pieces

Steven Osborne

Classical - Released October 7, 2022 | Hyperion

Hi-Res Booklet
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Satie & compagnie (Satie, Ravel, Debussy, Hahn...)

Anne Queffélec

Classical - Released January 14, 2013 | Mirare

Hi-Res Booklet Distinctions Diapason d'or
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Debussy : Complete Works for Piano

Jean-Efflam Bavouzet

Classical - Released October 1, 2012 | Chandos

Hi-Res Booklet Distinctions Diapason d'or
Praised for his meticulous fidelity to the composer's intentions, as well as for his rich tonal palette and the warmth of his expressions, Jean-Efflam Bavouzet has won many admirers for his five albums of the complete solo piano music of Claude Debussy. These recordings were produced by Chandos between 2007 and 2009, and they have now been gathered into a handsome box set; each disc is presented with its own cardboard sleeve and the original liner notes that accompanied each release. The roster of artists who have recorded Debussy's keyboard music is a long and distinguished one, though Bavouzet is easily ranked in the upper echelons, equal in stature among such luminaries as Jean-Yves Thibaudet, Arturo Benedetti Michelangeli, Krystian Zimerman, Maurizio Pollini, Angela Hewitt, Pierre-Laurent Aimard, and Pascal Rogé. Experienced listeners will already have favorite recordings of the Préludes, Images, Estampes, and Études, as well as the perennially popular Suite bergamasque, Children's Corner, and other picturesque pieces. However, many will be won over by the consistency of Bavouzet's playing, and newcomers will find that his disciplined yet gorgeous readings are a great way to begin appreciating these charming classics. Chandos provides excellent sound that gives the piano a clear presence yet takes nothing away from Bavouzet's atmospheric colors or the radiant acoustics. Highly recommended.© TiVo
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Timeless

Thylacine

Techno - Released October 2, 2020 | Masterworks

Hi-Res Booklet
Always keen to spice things up, Thylacine has spent the last two years going on musical journeys. He boarded a train on Transsiberian in 2015 and jumped into a caravan in South America for the double volume Roads. In Spring when the world was frozen in lockdown, the French electronic producer spent his days shut up in a chalet in the Swiss alps. He’s decided to journey into the past with this album, revisiting works by classical composers – the likes of Satie, Debussy, Verdi, Mozart, Beethoven, Fauré and Schubert. While most recent projects have tried to link the two styles by going for a more conceptual approach, William Rezé takes a more direct route and offers up a series of remixed classical music “hits”. He samples the first few notes of Satie’s Gymnopédie n.1 and sets them to an airy house beat. He covers Gnossienne 1 on an acoustic guitar. He supports Verdi’s Dies Irae with a heavy techno beat, while still preserving the original’s raw drama, and manages to build a bridge between the Italian composer and American EDM. A great record. © Smaël Bouaici/Qobuz
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Secret Love Letters

Lisa Batiashvili

Classical - Released August 19, 2022 | Deutsche Grammophon (DG)

Hi-Res Booklet
The popularity of thematic albums has led violinist Lisa Batiashvili and her publisher Deutsche Grammophon to group together three masterpieces which relate in some way to literature that falls under the broad label of “Secret Love Letters”.Presented as a blend of chamber and symphonic music, this recording offers a wonderfully romantic version of César Franck’s celebrated Sonata in A major, which may have served as a basis for Marcel Proust’s Vinteuil sonata. With the help of incredible young Georgian pianist Giorgi Gigashvili, Lisa Batiashvili offers an interpretation that is simultaneously fiery, poetic and dreamy. The two musicians take their time, stretching out the phrases in perfect complicity. The violin is breathtaking; this is art in the truest sense of the word.This sumptuous sound can be heard again later when the Philadelphia Orchestra (conducted by Yannick Nézet-Séguin) casts the magical spells hidden within Karol Szymanowski’s Premier Concerto, Op. 35. Inspired by a long poem by Tadeusz Miciński, this unique work (which is a “concerto” in name only) rustles with the sounds of nature and possesses a burning eroticism. It also has a sonic outlook which is often reminiscent of Stravinski’s The Firebird.Ernest Chausson’s admirable Poème pour violon seals the sincere friendship between the French composer and the Belgian violinist Eugène Ysaÿe. Far from slavishly illustrating Turgenev’s short story on which he based his work, Le Chant de l’amour triumphant expresses the mysterious and noble side of the tale.Lisa Batiashvili and Giorgi Gigashvili also offer Claude Debussy’s very first melody, Beau Soir, as an encore, using the arrangement once created by Jascha Heifetz. © François Hudry/Qobuz
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Mirages (Messager, Debussy, Delibes, Delage, Thomas...)

Sabine Devieilhe

Secular Vocal Music - Released November 10, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Victoire de la musique - Choc de Classica - Choc Classica de l'année - 5 Sterne Fono Forum Jazz
This project originated, Sabine Devieilhe says, from her desire to tackle Lakmé. In fact, Delibes was able to compose for her heroine some of the most memorable pages for coloratura soprano, starting with the hugely famous "air des clochettes" [Bell Song]. And as Western ears at the time were eager for musical and poetic voyages, and sensations from far-off lands, we find these same Oriental fantasies with Maurice Delage, who himself went on a grand tour of India, where he found modal colours, but also in Madame Chrysanthème by Messager or Rossignol by Stravinsky, to say nothing of the Egypt of Thaïs as portrayed by Anatole France and Massenet. Sabine Devieilhe, who won the "Lyrical revelation" prize at Victoires de la musique classique in 2013 before winning "Lyrical artist of the year" at the same ceremony – certainly not an unfair judgement of this particular artist – started her recording career with recordings of Rameau, Bach and Mozart, before launching into the lyrical repertoire from more recent years… And with great success! © SM/Qobuz
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French Duets - Fauré: Dolly Suite; Ravel, Debussy, Poulenc etc.

Steven Osborne

Classical - Released March 5, 2021 | Hyperion

Hi-Res Booklet
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Debussy : Suite bergamasque

Nikolai Lugansky

Solo Piano - Released October 5, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 étoiles de Classica
A century after his death on 25 March 1918, many harmonia mundi artists are eager to pay tribute to Claude Debussy, the magician of melody and timbre, the great 'colourist' and father of modern music. After Rachmaninoff's Preludes, Nikolai Lugansky wanted to present a finely nuanced portrait of this composer so fond of travelling! Whether it ranges over time (Hommage à Haydn) or the most vividly imagined open spaces, this freely composed programme is concerned above all with light and colour, in works we can never tire of. © harmonia mundi
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Debussy: Images, Children's Corner, L'Isle joyeuse..

Seong-Jin Cho

Solo Piano - Released November 17, 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Since the pianist's early days, the South Korean Seong-Jin Cho (1994) has professed a fondness for French music in general and Debussy in particular. At his first public performance at the age of eleven, he played Children’s Corner by Debussy. When he decided, in 2012, to pursue his musical education abroad, he chose Paris, and the Conservatoire National Supérieur, where he frequented the classes of Michel Béroff, the undisputed expert on Debussy. Cho has come back to work again with his old teacher, who became a friend, with the aim of creating his own Debussy album; the choice of works here is "restricted" to works requiring a middling level of virtuosity - mechanical exhibition isn't his thing, even though he has amply mastered his instrument - but whose poetical content allows the pianist to show off his own exquisite expertise as a musician. An homage to his own childhood, Children’s Corner, but also the two books of Images and the exquisite Suite bergamasque. Let’s not forget that Seong-Jin Cho won Warsaw's 2015 Chopin Prize, a sure-fire ticket to an international career. © SM/Qobuz
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Éventail

Heinz Holliger

Classical - Released September 22, 2023 | ECM New Series

Hi-Res Booklet
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Debussy: C'est l'extase - La mer

Vannina Santoni

Classical - Released June 9, 2023 | Alpha Classics

Hi-Res Booklet
Casual buyers and browsers should note that the vocal works on this album, accompanied by orchestra, are not the original works of Debussy. They were made in 2012 by composer Robin Holloway at the request of the San Francisco Symphony Orchestra. They were performed at that time by Renée Fleming but have not been recorded until now. The settings are unorthodox and never boring, and they will probably strike different listeners in different ways. Holloway reorders the songs, believing that they were not intended as a sequenced set (probably debatable), inserts some of the composer's Verlaine settings in the new ordering, adds transitions between most of them, and tacks on a high-powered epilogue of his own. The end result, perhaps, is Debussy for the 21st century, amped up and intense, with hidden psychological themes and ideas wrung out and brought to the fore by the orchestration. There will be little disagreement, however, about two of the main attractions: soprano Vannina Santoni is a talented newcomer from whom one wants to hear more, and Mikko Franck, heard at the end in La Mer, is an excellent Debussy conductor; his rendition of this well-trodden work is full of detail and entirely absorbing. Santoni has a big voice that stands up to these orchestrations, and Alpha's sound from the Radio France auditorium keeps everything in balance. Nothing if not an intriguing Debussy release. © James Manheim /TiVo
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Fauré: Requiem - Poulenc: Figure Humaine - Debussy: 3 Chansons

Mathieu Romano

Masses, Passions, Requiems - Released March 1, 2019 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama
Fauré's Requiem, “funeral lullaby” written for enjoyment as the composer put it, has a unique place in history. It's soft, simple and modest poetry conveys moments of gentle contemplation and moving expressiveness which are entrusted to both the choir and the two soloists. With his Ensemble Aedes and the orchestra Les Siècles, Mathieu Romano is committed to render a Requiem faithful to its first performance. We hear thus the score in its original 1893 orchestration, where the organ plays a great role, and where Latin is pronounced in the French way as it used to be. The clearest articulation of the Ensemble Aedes then perfectly fits Éluard’s Figure humaine set to music by Francis Poulenc. We have never heard these sublime poems sung with such intelligibility before! Finally, the three Songs by Debussy elegantly close the album. Here again, the quality and clarity of the voices are stunning. Artistic director and founder of Ensemble Aedes has established himself as a magician of voices in a cappella scores. And voices ideally melt with the strings of Les Siècles under his baton. A 100% French cast in a 100% French music disc for a triple rediscovery. Essential! © Aparté