No doubt there’s as much to be said for interpreters trying their hand at composition‚ if only to encourage them to respect the texts of others. But it is not always wise to publish the results. Casadesus’ Flute Sonata and Second Piano Concerto need not detain us – the former modally rambling‚ the latter bidding vainly for status as something challenging and gritty. The overriding interest in this disc lies in his 1945 recording of Book II of the Debussy Préludes. It’s a truism that pianists who excel in Ravel‚ as Casadesus did‚ do not often match this excellence in Debussy. But this second book shows Debussy moving somewhat in Ravel’s direction‚ with sharper outlines and more advanced harmonies. From the vague atmospherics of ‘Brouillards’ through the acidulous traits of ‘La puerta del vino’‚ the beautifully timed eccentricities of ‘General Lavine’‚ the pomposo bass octaves of ‘Hommage…Samuel Pickwick’ and the cool chording of ‘Canope’ to the flashing fingerwork of ‘Feux d’artifice’‚ this is a performance to treasure. In particular‚ the joins between phrases and paragraphs are always superbly managed – some instant and surprising‚ others demonstrating Casadesus’ understanding of Debussy’s often elliptical syntax. And at no point are we aware of Casadesus being ‘the celebrated pianist’: no indulgent rubatos‚ no curiously ‘interesting’ reworkings of Debussy’s textures. His 1928 interpretation of Jeux d’eau is essentially the same as the one he gave in his complete Ravel set of nearly a quarter of a century later‚ if slightly less accurate. He is well up to the technical demands of the Fauré Impromptu and makes something of the strange D minor Prélude‚ while ‘Le retour des muletiers’ gives him the opportunity to display his refinement of touch – or rather touches. Quel artiste!