Claude Debussy: Preludes - Book 1, L. 117, Preludes - Book 2, L.123 [Vinyl 2LP]

Klasyczna Muzyka Kameralna
premiera polska: 2018-02-16
kontynent: Europa
kraj: Polska
opakowanie: kartonowe etui
opis:
multikulti.com:
Epokowe nagranie 12 Preludiów Claude'a Debussy'ego w odczytaniu najbardziej utytułowanego polskiego pianisty - Krystiana Zimermana.
Partnerowali mu dyrygenci, jak Claudio Abbado, Leonard Bernstein, Pierre Boulez, Herbert von Karajan, Bernard Haitink, Seiji Ozawa, Lorin Maazel, Riccardo Muti, Zubin Mehta, André Previn, Stanisław Skrowaczewski, Simon Rattle, Kirył Kondraszyn, Witold Rowicki. Koncertował także jako kameralista z Yehudi Menuhinem, Kają Danczowską, Gidonem Kremerem, Heinzem Holligerem czy Kyung-Wha Chung.

Preludia Debussy'ego Zimermana są przeszywające, pianista skupia uwagę od niemal pierwszych akordów. Debussy w Preludiach pozbawił fortepian brzmieniowej brutalności. Często porównuje się francuskiego kompozytora do Auguste'a Rodina, najsłynniejszego przedstawiciela impresjonizmu w rzeźbie. Jest to porównanie uzasadnione. Te kompozycje wymagają od pianisty, by zapomniał niejako o tym, że jest to instrument młoteczkowy. Fenomenalna technika, artyzm i błyskotliwa inteligencja Zimermana budzą podziw i respekt.
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Gramophone:
Two discs, retailing at a high mid price and playing for a total of 84 minutes? The playing and the recording had better be in the luxury class. Fortunately they are.

Zimerman is the very model of a modern virtuoso. His overrriding aim is vivid projection of character. His quasi-orchestral range of dynamic and attack, based on close attention to textual detail (there are countless felicities in his observation of phrase-markings) and maximum clarity of articulation, is the means to that end. As a result, he draws out the many connections in this music with the romantic tradition, especially in pianistic tours de force such as ''Les collines d'Anacapri'', ''Ce qu'a vu le vent d'Ouest'' and ''Feux d'artifice'', which are treated to a dazzling Lisztian elan the equal of any Debussy playing I have ever heard. The instrument he has selected is itself something of a star, though Jos van Immerseel's 1897 Erard should also be heard as a valuable antidote to its colossal power, and DG's recording combines opulence with razor-sharp clarity (it also catches just a little too much damper-brushing to be ideal).

At times Zimerman's intensity can seem overbearing. The opening Prelude, ''Danseuses de Delphes'', is very much a Brahmsian confessional here, for instance, while ''La danse de Puck'' threatens to be more aggressive than mischievous (but what an engaging dance-like quality it gains from the second page on). I would question whether the organ-like climax of ''La cathedrale engloutie'' (track 10 from 2'45'') is really sans durete (''without hardness''), and in the same piece I'm not sure Zimerman has taken on board the fact that Debussy's rhythmic notation misrepresents his wishes (as the Durand Complete Edition for the first time points out). His ''Brouillard'' (Fog) has some piercing icicles in it, and his sheer virtuosity in some of the more declamatory Preludes borders on the rapacious.

''Why do you play like that?'', Heifetz (I think) was once asked. ''Because I can....'' Yet there is almost always a poetic justification too for what some may feel to be Zimerman's excess of technique. In ''Ce qu'a vu le vent d'Ouest'', for instance, he has noted the furieux marking (track 7 from 2'30''), and the sweep of the playing leaves you in no doubt as to the irresistible power of Nature. At the other extreme Zimerman displays an exquisite refinement of touch that makes the quieter pieces both evocative and touching (sample the lovely yearning quality at the end of ''Des pas sur la neige'', for instance).

Overall, then, I had to put on one side my craving for a little less intensity, a little less pianistic incident, a little more inwardness of mood. And for 90 per cent of the time Zimerman's sheer force of personality and consummate pianism persuaded me to do just that. Whether I would be persuaded to pay around twice as much as for his single-disc rivals I'm not so sure. But such sensitively conceived and wonderfully executed Debussy playing stands, at the very least, on a level with a classic recording such as Gieseking's, or a comparably idiomatic modern one such as Martino Tirimo's.
by: David Fanning'

muzycy:
Krystian Zimerman: piano

utwory:
A1. Danseuses De Delphes
A2. Voiles
A3. Le Vent Dans La Plaine
A4. «Les Sons Et Les Parfums Tournent Dans L'Air Du Soir»
A5. Les Collines D'Anacapri
A6. Des Pas Sur La Neige
B1. Ce Qu'a Vu Le Vent D'ouest
B2. La Fille Aux Cheveux De Lin
B3. La Sérénade Interrompue
B4. Le Cathédrale Engloutie
B5. Le Danse De Puck
B6. Minstrels
C1. Brouillards
C2. Feuilles Mortes
C3. La Puerta Del Vino
C4. Les Fées Sont D'exquises Danseuses
C5 Bruyeres
C6. «General Lavine» - Excentric
D1. La Terrasse Des Audiences Du Clair De Lune
D2. Ondine
D3. Hommage A S. Pickwick Esq. P.P.M.P.C.
D4. Canope
D5. Les Tierces Alternées
D6. Feux D'artifice

total time - 83:41
wydano: 2018-02-16
nagrano: Recorded Live At Stadthalle, Festsaal, Kassel in 1991

more info: www.deutschegrammophon.com