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Kamermuziek - Verschenen op 5 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 2 oktober 2012 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or
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Piano solo - Verschenen op 31 augustus 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional sound - 5 étoiles de Classica
The remarkable Turkish pianist Fazıl Say (born 1970) here offers us a suitably remarkable album, recorded in 2016 in the Great Hall of the Salzburg Mozarteum and given over to the Premier Livre of Debussy's Préludes – 1910 – which he sets up in against the six Gnossiennes by Satie (1890 for the first three, 1897 for the latter three) and to the pieces which made him famous, the Gymnopédies of 1888. It's quite stunning to hear these works and to reflect on the fact that Satie's works actually come before Debussy's Préludes – by almost two decades, in fact. It is hardly surprising the Satie has been thought a real avant-gardist both in his day and by minimalists today. Considering how different these two were, it was natural that they should have been friends, especially given Debussy's tendency towards jealousy of his contemporaries... But it is impossible to be jealous of a kind, bubbly soul like Satie. Say brings immense tenderness to these two opposite poles – poles so far removed that they almost join back up. © SM/Qobuz
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Klassiek - Verschenen op 18 april 2012 | Parlophone France

Booklet Onderscheidingen The Qobuz Ideal Discography
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Klassiek - Verschenen op 5 januari 2018 | Warner Classics

Booklet Onderscheidingen 4F de Télérama
EDITORIAL NOTES:This complete edition brings together all Debussy’s known works. The one work that is not currently available is the orchestral version of an Intermezzo composed in June 1882. However, it is possible to form an idea of how this might have sounded thanks to Debussy’s own transcription of the piece for piano duet (7/6)2. The following works can be heard here in premiere recordings: —the Chanson des brises (1882) for soprano solo, female chorus and piano four-hands (24/12), the complete manuscript of which has recently come to light;—the first version (1898) of the two Chansons de Charles d’Orléans (25/5-6);—Diane au bois (1885-87), a “comédie lyrique” for soprano, tenor and piano (26/1-4); —the beginning of La Chute de la maison Usher, as it was when Debussy set the work aside in 1916 (30/6-10); To this group of works, we have added the piano reductions of Khamma (4/13-16) – whose orchestration was mainly the work of Koechlin – and of Jeux (4/17), both of which provided the basis on which the choreography of the two ballets was devised. Moreover, some of Debussy’s transcriptions from the 1890s have never been recorded until now: —À la fontaine, an arrangement for piano solo of Am Springbrunnen from Schumann’s Op.85 set of piano duets (2/20); —Humoresque en forme de valse, an arrangement for piano solo of Raff’s Humoreske in Walzerform, Op.159, for piano duet (6/9); —Saint-Saëns’ Symphony No.2 and Airs d’Étienne Marcel, arranged for two pianos, four hands (11/8-18);  In addition to the above, we have included several arrangements of Debussy’s works made by composers with whom he was on friendly terms. The complete edition contains all the transcriptions by André Caplet (for piano solo, two pianos and orchestrations), even those carried out after Debussy’s death. Caplet’s orchestrations of two of the Ariettes oubliées (22/1415) are recorded here for the first time. Most of Caplet’s transcriptions received Debussy’s seal of approval, and the composer conducted the orchestral version of Children’s Corner (18/12-17) on several occasions and took part in performances of the two-piano version of Ibéria (10/57). The same applies to the arrangements made by Henri Busser, Jean Roger-Ducasse, Désiré-Émile Inghelbrecht and Bernardino Molinari. Ravel’s transcriptions and orchestrations are testimony to his admiration for Debussy. Finally, it is worth noting that Debussy was on good terms with the violinist Arthur Hartmann and transcribed Minstrels (13/3), one of the piano Préludes, for his friend. The two men played the piece together at a concert on 5 February 1914, alongside two arrangements that Hartmann had made with the composer’s consent: another of the Préludes, La fille aux cheveux de lin (13/15), and the second of the Ariettes oubliées, Il pleure dans mon cœur (13/14).Finally, this set features the only known acoustic recording of Debussy, accompanying Mary Garden (33/15-18) and made in February 1904 for the French Gramophone Company, as well as piano rolls of fourteen pieces made using the Welte-Mignon system and probably recorded by the composer in November 1913 (33/1-14).Denis Herlin© 2017 Warner Classics
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Piano solo - Verschenen op 5 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 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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Klassiek - Verschenen op 1 januari 2001 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 1 januari 1995 | Deutsche Grammophon (DG)

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Piano solo - Verschenen op 29 juni 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Preis der deutschen Schallplattenkritik
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Klassiek - Verschenen op 16 februari 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet
Why yes indeed, this is a very recent recording of Debussy by Maurizio Pollini (with his own son Daniele at his side for En blanc et en noir), made in late 2016 in Munich's sumptuous Herkulesaal. In it, the old lion of the piano unfurls for us the sumptuous and enigmatic musical tapestry of the Second Book of Debussy's Preludes, finished in 1912: a superlatively delicate pattern, more sketched and suggested than really followed, the pianist being enjoined not to "overdo it". Maurizio Pollini, 74 when the recording was made, can measure his performance out perfectly, and knows how to give the impression that the music is being written and improvised as he plays. And the album closes with En blanc et en noir for two pianos, of which Debussy wrote in 1915: "I have suffered greatly from the long drought imposed upon my brain by the war"; after months of silence, and his work editing Chopin, he entered a period of fevered creativity which continued with the two Books of the Études and the final sonatas. First entitled "Caprices en blanc et noir", the three pieces of En blanc et noir refer neatly to the instrument's keys and, as Debussy writes in 1916, "they aim to draw their colour, their emotion, from the simple piano, like Velasquez's greys". Grey, the fruit of the meeting of black and white... © SM/Qobuz
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Klassiek - Verschenen op 12 januari 2018 | Deutsche Grammophon (DG)

Booklet
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Symfonische muziek - Verschenen op 7 december 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
The originality of this recording (which presents works that are, in fact, rather common) comes from the orchestra Les Siècles playing on periodic instruments, in this case from the period in which Debussy wrote these masterpieces. This is particularly relevant for woodwinds and brass, whose mechanisms and sounds around 1900 were very different - more incisive perhaps, and undoubtedly more differentiated - which for music like Debussy's offers a real plus in the orchestral balance. Moreover, the number of strings remains reasonable, this way the woodwind is never swallowed up as it often is with large international orchestras. The listener will be able to hear this music as Debussy heard it, or at least how he would have liked to have heard it because in his time orchestras and conductors did not always have a clear understanding of his style or the infinite colours on his palette. © SM/Qobuz
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Klassiek - Verschenen op 23 maart 2018 | Warner Classics

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Piano solo - Verschenen op 29 oktober 2015 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
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Klassiek - Verschenen op 30 augustus 2019 | Warner Classics

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Liederen - Verschenen op 1 januari 1962 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Piano solo - Verschenen op 17 november 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 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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Klassiek - Verschenen op 5 januari 2018 | Warner Classics

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Klassiek - Verschenen op 5 januari 2018 | Warner Classics

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Klassiek - Verschenen op 1 januari 1991 | Decca Music Group Ltd.

Onderscheidingen The Qobuz Ideal Discography