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Debussy: Images 1 & 2; Children's Corner
Arturo Benedetti Michelangeli
Classical - Released January 1, 1971 | Deutsche Grammophon (DG)
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The Qobuz Ideal Discography
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Debussy: Images, Children's Corner, L'Isle joyeuse..
Seong-Jin Cho
Solo Piano - Released November 17, 2017 | Deutsche Grammophon (DG)
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5 Sterne Fono Forum Klassik -
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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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Debussy: Images; Children's Corner; Estampes etc.
Steven Osborne
Classical - Released September 29, 2017 | Hyperion
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Debussy: Images & Préludes, Book 2
Marc-André Hamelin
Classical - Released November 2, 2014 | Hyperion
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Beethoven: Piano Concerto No. 5 "Emperor", Piano Sonata No. 32 - Claude Debussy: Images
Arturo Benedetti Michelangeli
Classical - Released September 1, 2013 | Praga Digitals
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5 de Diapason
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Debussy: Arabesques, Estampes, Images, Children´s Corner - Ravel: Valses nobles et sentimentales
Ilja Hurník
Classical - Released November 23, 2012 | Supraphon a.s.
After recently terminating his career as a pianist, Ilja Hurník has gained more scope for devoting to composing and writing. Hurník studied the piano with pedagogues of such renown as V. Kurz, I. Štěpánová-Kurzová and V. Novák and has given numerous concerts abroad (including a four-hand performance with Pavel Štěpán), with his interpretations of Debussy and Janáček being particularly captivating. He has given back to Janáček the earthiness and crispness resulting from the Lachian dialect and purged Debussy of the "Impressionistic mist" and accumulated layers of brush strokes, turning the audience's attention to the compositions' subtle drawing and structure. When listening to the presented recordings, one will be hard pressed indeed to believe that they were made a full half-century ago. Hurník's ninetieth birthday is an appropriate opportunity to recall them: this reissue in a carefully remastered version will certainly be welcomed not only by his contemporaries. © Supraphon
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Dupont: La maison dans les dunes - Debussy: Images
Severin von Eckardstein
Classical - Released September 28, 2018 | ARTALINNA
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Diapason d'or -
4F de Télérama -
Choc de Classica
Considered as one of the most inspired pianists of his generation, Severin von Eckardstein explores three major cycles of French music from the 1900s, associating Claude Debussy’s two revolutionary books Images (1904-1907) and Gabriel Dupont’s La Maison dans les dunes (1907-1909) as part of this debut album under the Artalinna label: this suite of 10 pieces with memorable atmospheres filled with luminous colours and heady melodies will stand out for many as a musical revelation! © Artalinna
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Debussy: Children's Corner, Suite bergamasque, Images
Alain Planès
Classical - Released July 31, 2007 | harmonia mundi
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Debussy: Complete Piano Works, Vol. 2
Alessandra Ammara
Classical - Released August 28, 2020 | Piano Classics
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The second volume of a Debussy series attracting critical superlatives and comparisons with the likes of Cortot and Gieseking. In 2016 Alessandra Ammara won high praise for an album of Mendelssohn duets with her husband Roberto Prosseda. The following year her Piano Classics debut of Debussy inspired no less glowing reviews. The sequel elegantly completes her recordings of the Préludes and Images with their second volumes, coupled with the more innocent pleasures of the Suite bergamasque. Thus the album spans Debussy’s first and punultimate published piano cycles, for while the Suite appeared in print only in 1905, it was composed back in 1890. In their titles, three of the four movements – a Prelude, Minuet and Passepied – invoke the formal elegance of a Baroque dance suite, but the elusive character and freedom of the music owes more to the poetry of Verlaine, who used the archaic ‘bergamasque’ term in his poem Clair de lune, which as the suite’s third movement became Debussy’s single greatest hit. In both the Images and Préludes, Debussy invested their second volumes (composed in 1907 and 1912-13 respectively) with darker, gloomier tone-colours and higher contrasts with wild outbursts and even manic humour. The portraits of individual characters and landscapes are more sharply drawn, more charged with private intensity. They make accordingly greater demands upon the interpreter, nowhere more so than in the dark, wild magic of the Feux d’artifice which close out the Préludes. The three Images in Book 2 are linked by their association with the Debussy’s friend Louis Laloy, and by extension with their mutual fascination with China and the alien world of East-Asian culture. The bells in Cloches à travers les feuilles ring from the church in Laloy’s home-town; the title of Et la lune descend sur le temple qui fut was proposed by Laloy himself, and the goldfish – Poissons d’or of the triptych’s final panel – swim and shimmer through much Chinese lacquer artwork. © Piano Classics
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Debussy: Complete Works for Solo Piano Vol.2 - Images, Etudes
Jean-Yves Thibaudet
Classical - Released January 1, 2000 | Decca Music Group Ltd.
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Schumann: Piano Concerto / Debussy: Images
Arturo Benedetti Michelangeli
Classical - Released January 1, 2009 | Deutsche Grammophon (DG)
For many classical music cognoscenti, Italian pianist Arturo Benedetti Michelangeli was one of the greatest, if not the greatest, pianist of the second half of the 20th century. With his Olympian technique, crystalline tone, and trenchant interpretations, he indisputably turned in some of the finest recordings ever made. This disc, though, which includes live performances of Schumann's Piano Concerto and four of Debussy's Images for piano, may be a disappointment to his fans. The recorded sound of the Schumann concerto is exceedingly poor, especially considering it comes from Paris in 1984; the orchestra frequently swamps the piano, and the hazy acoustics nearly bury both. Daniel Barenboim's wayward tempos and the overly blended tone of the Orchestre de Paris are wrong for the music and the soloist, and their accompaniments seem perfunctory at best. Worst of all, though, is Michelangeli's performance of the concerto. Though the lucidity of the playing makes the performance recognizably his, too much of his playing feels tentative and even hesitant. The opening movement's cadenza has neither sufficient passion nor polish, for example, and the closing movement lacks the drive and energy it needs to succeed. The recordings and the performances of Debussy's Images are vastly better and one can hear the old Michelangeli magic at work in their luminous colors and radiant textures, but they are no improvement over the same pianist's 1971 studio recordings of the same works. In sum, this is a disappointing release that does little to reinforce the pianist's reputation.© TiVo
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Debussy: Images
Denis Pascal
Classical - Released November 22, 2008 | Eloquentia
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Debussy & Ravel : Piano Works
Monique Haas
Classical - Released June 18, 2007 | Warner Classics International
French pianist Monique Haas recorded the piano works of Debussy and Ravel twice, once in the late '50s and early '60s for Deutsche Grammophon and again in the late '60s and early '70s for Erato. The later recordings are released here in this six disc set from Warner Classics. As on the earlier set, Haas' performances are elegantly stylish, technically impeccable, consummately musical, and quintessentially French. Pick any piece by either composer at random, and you'll see. Try her bright but sensual Suite Bergamasque with its ravishing Clair de lune or her brilliant and visionary Études with their astounding concluding Pour les accords. Or try her recklessly virtuosic Gaspard de la nuit with its frightening Scarbo or her sweetly swaying Valses nobles et sentimentales with its heartrending Épilogue. There are only two meaningful differences between Haas' recordings: in the earlier performance, she is more passionate and impetuous while in the later performances she is more measured and thoughtful. In the DG recordings, the sound is mostly monaural though still clean and clear, while in the Erato recordings, the sound is entirely stereo and thus warmer and rounder, though no less clean and clear. Anyone interested in the composers, the repertoire, or this French pianist of the twentieth century should hear Haas' Debussy and Ravel -- in either or both recordings.© TiVo
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Debussy : Œuvres pour piano (Intégrale)
François Chaplin
Solo Piano - Released September 15, 2007 | Arion
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Debussy & Emmanuel: Piano Works
Yvonne Lefébure
Classical - Released January 1, 2010 | Solstice
Booklet
Debussy: Images
Roberto Cominati
Classical - Released November 22, 2019 | Universal Music Italia srL.
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Roberto Cominati isn't faking it. Although he might not be so well-known on the French side of the Alps, be in no doubt that he is a great musician! This second Debussy album is another patient step on the road to a recording of the composer's complete works, which promises to rank among the greatest on record. Fascination, mystery, the ineffable: these are words that spring to mind upon hearing this fine recording. That's because Debussy's music isn't narrative: it's all suggestion and lightning flash. Following Ravel, here Cominati is exploring the continent of Debussy. In this second volume, given over to Images and Estampes amongst others, this multi-award-winning musician breathes a gust of freedom into the music. His Reflets dans l’eau grab you and don't let go: the sounds are at once molten and clear, the discourse rhapsodic and controlled. There is, perhaps, a touch too much reverb in the mix on this recording. But Roberto Cominati – who takes to Claude Achille like a duck to water – wreathes his reading of these works in an unearthly glow. This student of Aldo Ciccolini measures out his nuances with the precision of an alchemist. His peerlessly majestic Soirée dans Grenade deploys an incredible variety of colours and its many soundscapes create a sensation of drunkenness. Unlike his teacher, Roberto Cominati does not foreground the frictions and rough spots that dot the writing and the harmonies of these scores (and which were such a delight in Ciccolini's work). He is more taken with the suppleness of the discourse, as his Isle joyeuse makes clear. But it's still a delight to take a dive into what we might call, with Bachelard's Water and Dreams, a "meditation on imagination and matter". © Elsa Siffert/Qobuz
Roberto Cominati isn't faking it. Although he might not be so well-known on the French side of the Alps, be in no doubt that he is a great musician! This second Debussy album is another patient step on the road to a recording of the composer's complete works, which promises to rank among the greatest on record. Fascination, mystery, the ineffable: these are words that spring to mind upon hearing this fine recording. That's because Debussy's music isn't narrative: it's all suggestion and lightning flash. Following Ravel, here Cominati is exploring the continent of Debussy. In this second volume, given over to Images and Estampes amongst others, this multi-award-winning musician breathes a gust of freedom into the music. His Reflets dans l’eau grab you and don't let go: the sounds are at once molten and clear, the discourse rhapsodic and controlled. There is, perhaps, a touch too much reverb in the mix on this recording. But Roberto Cominati – who takes to Claude Achille like a duck to water – wreathes his reading of these works in an unearthly glow. This student of Aldo Ciccolini measures out his nuances with the precision of an alchemist. His peerlessly majestic Soirée dans Grenade deploys an incredible variety of colours and its many soundscapes create a sensation of drunkenness. Unlike his teacher, Roberto Cominati does not foreground the frictions and rough spots that dot the writing and the harmonies of these scores (and which were such a delight in Ciccolini's work). He is more taken with the suppleness of the discourse, as his Isle joyeuse makes clear. But it's still a delight to take a dive into what we might call, with Bachelard's Water and Dreams, a "meditation on imagination and matter". © Elsa Siffert/Qobuz
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Debussy: Études & Images
Pierre-Laurent Aimard
Classical - Released January 1, 2001 | Warner Classics International
Audiences recognize Pierre-Laurent Aimard for his expertise in twentieth century music, so it's no surprise to find him recording the music of Debussy. The composers he usually plays (e.g., Messiaen, Bartók, Ligeti) wrote more percussively for the piano than Debussy did, which perhaps explains why Aimard's Debussy isn't as smooth and soft as it could be. He can play quietly and gently, but there is distinctness in each note, no matter how gently or fast he is playing, that prevents the cushiony softness, those waves of color and sound usually expected in Debussy's Images and Études. In Reflets dans l'eau there are individual drops of water that don't quite meld into ripples of water. There are also a couple of points in Reflets where the melody is lost. Aimard comes closer to blending the notes in Cloches à travers les feuilles and Poissons d'or, but still doesn't quite make it. The separateness and semi-firmness of notes and chords isn't so much of a problem in the Études, particularly the first book, because they are less about painting pictures and more about studying piano technique. Of the whole disc, the Étude pour les huit doigts comes closest to the watercolor sound. Aimard's Debussy is good, but if one were expecting to see a Monet and got a Seurat instead, no matter how beautiful that Seurat is, there would be some degree of disappointment at not seeing what was expected.© TiVo
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Debussy : Estampes - ...d'un cahier d'esquisses - Masques - L'Isle joyeuse - Images
Philippe Bianconi
Classical - Released January 1, 2011 | Lyrinx
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