DEBUSSY Préludes (Complete)
View record and artist detailsRecord and Artist Details
Composer or Director: Claude Debussy
Genre:
Instrumental
Label: Neos
Magazine Review Date: 04/2015
Media Format: CD or Download
Media Runtime: 84
Mastering:
DDD
Catalogue Number: NEOS21303/4
Tracks:
Composition | Artist Credit |
---|---|
(24) Préludes |
Claude Debussy, Composer
Claude Debussy, Composer Gìlead Mishory, Piano |
Author: Harriet Smith
Certainly, he has a sure sense of structure and pacing, and his playing is gratifyingly free of mannerism. In a piece such as ‘Les collines’, he’s more deliberate than Bavouzet, who is superbly insouciant, or the always sharply dramatic Zimerman.
In the more virtuoso writing, in pieces such as ‘Ce qu’a vue le vent d’ouest’, Mishory doesn’t have the sheer technical élan of Zimerman or Osborne, with the former imbuing the piece with an almost Wagnerian sense of drama. And in ‘Le vent dans la plaine’ Mishory opts for more pedal than Zimerman but also imparts a playfulness along similar lines to Bavouzet’s. Everywhere, you’re constantly reminded of Debussy’s extraordinary switches of sound worlds, a feature that becomes still more striking in Book 2.
A real pea-souper descends in Mishory’s ‘Brouillards’, thanks to judicious pedalling. In the more biting numbers, he perhaps underplays the element of subversiveness – and that goes for pieces as different as ‘La puerta’, where Osborne captures the malevolent edge with more subtlety than anyone, and ‘Pickwick’, intentionally overblown in Zimerman’s hands. Mishory’s fairies in ‘Les fées sont d’exquises danseuses’ are less ethereal than those of Bavouzet – who is very dry here, and brilliantly airborne. In the last two numbers, again Mishory’s technique is less prodigious than some: his ‘Tierces alternées’ doesn’t billow with the insouciance of Bavouzet, while ‘Feux d’artifice’ burns a degree less brilliantly than the likes of Zimerman, Osborne and Bavouzet.
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