Penguin Guide Rosette Winners

Another master colourist working with one of the great orchestras - silky, sensuous and exquisitely recorded - James Jolly, Gramophone 1000th issue

Diapason d'Or, Prix de l'Académie du disque français & Penguin Guide Awards

“Gieseking's set of both Books of the Préludes is one of the great classics of the gramophone. The individual insights are endless, so is the extraordinary feeling for the music's evocation and atmosphere.
The 1953-4 recordings just missed the stereo era, but the Abbey Road mono sound is firstclass.
Don't miss it.” Gramophone Classical Music Guide, 2010

“Her playing carries blazing conviction at every turn, and its sheer virtuosity is breathtaking ... Vivid communication is helped by a fairly forward, resonant recording, which captures every nuance without detriment to overall perspective ... supreme in every instance, and in pretty well every department, be it refinement of sonority, accent, timing, characterization or sheer dexterity.” Gramophone Magazine

“…Rattle and the Berlin Philharmonic, resplendently recorded, capture the languorous sensuality of L'après-midi supremely well, with the flautist Emmanuel Pahud phrasing in huge spans, and with the most refined rubati. La mer is less tempestuous than it can be... but I find it more convincing and more evocative than when it is turned into a concerto for orchestra. Once again every last touch of colour emerges in this beautifully natural recording.” BBC Music Magazine, September 2005 ****

“Karajan and the Berlin Philharmonic's perfumed, pictorial 1964 recordings of Debussy's Prélude à L'après-midi d'unfaune and La mer (see above) have come to be revered – and rightly so, as they possess a remarkable frisson. Rattle's interpretations, recorded live, are markedly less urgent; with nary a noise from the audience, one might even mistake them for studio recordings. Yet these new accounts, too, have the ability to engross and sometimes even astonish. Note, for example, the sinuous swoop of the flutes and clarinets at the beginning of 'Jeux de vagues' in La mer, or the shimmering rustle of strings at 1'00" in the Prélude – both almost tactile sensations.
Of course, one counts on Rattle to elucidate detail, and here the clarification of the music's intricately layered textures is revelatory. Karajan appears more intent on blending colours, creating a kind of sonic kaleidoscope that, coupled with a strong narrative thrust, can make Debussy sound a little like Rimsky-Korsakov. Subtlety may be part of the issue. Karajan, for example, heightens dynamic contrast whereas Rattle grades the dynamics as per Debussy's instructions (he's one of the few conductors who seems to have noticed that there's but one fortissimo in the Prélude).
The makeweights are especially valuable.
There aren't that many recordings of La boîte àjoujoux in the catalogue and this zestful, gracefully droll performance is among the best. As in the Prélude and La mer, the conductor's supple tempo manipulations convey a real feeling of spontaneity. Colin Matthews's scoring of three piano Préludes evokes Debussy's sound world with preternatural accuracy.
The turbulence of 'Ce qu'a vu le vent d'Ouest' and sparkle of 'Feux d'artifice' are most impressive, though 'Feuilles mortes', with its hauntingly desolate atmosphere, is perhaps finer still.
In short, a dazzling disc.” Gramophone Classical Music Guide, 2010

“the clarification of the music’s intricately layered textures is revelatory… In short, a dazzling disc” Gramophone Magazine

“Steven Osborne's pedigree in French repertoire is such that it has been almost inevitable that he would record Debussy's Préludes at some point. He has much in his favour, notably a marvellous range of colour, finely judged touch, and the ability to combine powerful waves of sound with diaphanous passagework while Hyperion have not lost their ability to capture a piano in full, natural sound.” BBC Music Magazine, August 2006 ***

“Steven Osborne tells us that in preparing this recording he was struck 'by the enormous scope of these preludes. What other collection of pieces manages to create so many utterly distinct and compelling worlds?' But he has prepared well, and every prelude glows, always rich in atmosphere.
The opening 'Danseuses de Delphes' has a commandingly grave serenity and 'Voiles' floats effortlessly. Yet 'Les collines d'Anacapri' dances with sparkling rhythmic vitality and 'La danse de Puck' is deliciously capricious.
Osborne's delicacy of feeling (and texture) is at its most magical in the soft footfalls 'sur la neige', although 'Feuilles mortes' has similar moments of evocative quietness. The unpredictability of 'Le vent dans la plaine' is matched by the simulated violence of 'Ce qu'a vu le vent d'Ouest', and the thrilling climax of 'La cathédrale engloutie' has rich depth and sonority. By contrast, 'La fille aux cheveux de lin' has a ravishing simplicity, without sentimentalising.
'S Pickwick' brings a momentary smile but his eccentricity is banished by the calm of 'Canope' and the joyful virtuosity of 'Les tièrces alternées'.
Osborne's virtuosity is never for its own sake and always reflects the music's spirit. The obvious comparison is with Zimerman's stunningly vivid recording; but his extraordinarily brilliant playing is at times almost over-projected and Osborne's natural spontaneity and powerful conveying of inner feeling is every bit as telling – less intense but deeply satisfying. The Hyperion recording is very realistic.” Gramophone Classical Music Guide, 2010

“…Osborne has prepared well, and every prelude glows, always rich in atmosphere. Osborne's delicacy of feeling (and texture) is at its most magical in the soft footfalls "sur la neige" although "Feuilles mortes" has similar moments of evocative quietness. The unpredictability of "Le vent dans la plaine" is matched by the stimulated violence of "Ce qu'a vu le vent d'Ouest", and the thrilling climax of "La cathédrale engloutie" has rich depth and sonority.” Gramophone Magazine, October 2006

“Osborne achieves little miracles of colour and control...The recording respects Steven Osborne as much as he does the composer; the pianist provides the colour, the resonance, the glowing halo of sound, and the recording delivers it with great clarity and honesty...Strongly, indeed, urgently recommended.” Andrew McGregor, bbc.co.uk, 18th December 2006

Penguin Guide 1996 3 star

“Superb performances, given an uncanny presence in an ideal acoustic.” Penguin Guide, 2011 edition