Debussy: Valse romantique (L. 71)

“If anything, Jean-Efflam Bavouzet surpasses the high standards he set in his previous Debussy release… with this second instalment. …he focuses upon clarity of textures, rhythmic precision, well differentiated articulation, plus scrupulous balances between the hands and within chords.” Gramophone Magazine, Janurary 2008

“Bavouzet's strengths…to the fore, with glowing colours in the opening Ballade and Valse romantique, followed by sparkling elegance in the Danse.” BBC Music Magazine, January 2008 ****

“No gently meandering Debussy for French pianist Jean-Efflam Bavouzet in his second complete works instalment. Structure and clarity are, if not all, then at least to the forefront here, and the composer gains. In a way, by making the textures so clear, Bavouzet reveals (to an extent) how the magician does his tricks – and it just leaves you admiring Debussy all the more.” Gramophone Magazine

“While Bavouzet is no slouch in the tone-colour department, his interpretations do not primarily concern themselves with sound-painting. Instead he focuses upon clarity of textures, rhythmic precision, well differentiated articulation, plus scrupulous balances between the hands and within chords. Timbral variety and tonal allure arise from these elements working together. As you listen to Bavouzet's effortless rhythmic lilt and buoyant sense of line in the Tarantelle styrienne, Masques and 'Jardins sous la pluie', or his firm bass underpinnings and impeccably calibrated arabesques throughout L'isle joyeuse, you don't perceive the 'hammerless' piano of Debussy's dreams. Instead, the piano's innards morph into a finely honed chamber orchestra.
Similarly in 'Pagodes', Bavouzet's sharply profiled melodies shed welcome animated light on a piece that's often interpreted too flaccidly. Some might favour a warmer, more curvaceous way with the Valse romantique but Bavouzet's shapelier urgency proves more convincing in Pour lepiano's central Sarabande, as well as its earlier incarnation in the cycle of 'forgotten' Images.
The recorded sound is never less than pleasing.” Gramophone Classical Music Guide, 2010

“Debussy playing does not come any better than this” Penguin Guide, 2011 edition

“Jean-Yves Thibaudet's Debussy cycle is a cornucopia of delights. The 12 Etudes could hardly be presented more personally or vivaciously. Nos 6 and 7 are marvels of bright-eyed irony and humour, while Nos 8 and 9 contrast a haunting alternation of lassitude and hyperactivity with razor-sharp cascades of repeated notes. His timing in the central lento, molto rubato of No 12 is memorably acute; throughout, you're aware of a pianist with a penchant for spare pedalling and a refined brilliance, far remote from, say, Gieseking's celebrated, opalescent magic. He takes a brisk hand to the Children's Corner suite (allegro rather than allegretto in 'Serenade for the Doll', hardly modérément animé in 'The Snow is Dancing') but even here his spruce technique and vitality are never less than enlivening. In the Suitebergamasque he dances the 'Menuet' with an unusual sense of its underlying grace and gravity, and his 'Clair de lune' is exceptionally silvery and transparent. Both books of Images are given with a rare sense of epiphany or illumination, of flashing fins and sunlight in 'Poissons d'or' and of a timeless sense of archaism in 'Hommage à Rameau'.
Decca's presentation and sound are, respectively, lavish and natural. If you want to hear Debussy new-minted, with air-spun and scintillating textures, Thibaudet is your man.” Gramophone Classical Music Guide, 2010

“Ogawa is an exceptionally fine advocate for this music; as with volume one, the piano sound is gorgeous. Her playing is never less than sensitive and beautiful...Ogawa's sense of colour combines with clarity of line and a genial charm that brings alive not only the better known works...but also less characteristic pieces such as the Danse bohemienne...another very enjoyable contribution to a strong cycle.” BBC Music Magazine, September 2011 ****

“Ogawa is thoroughly capable of rising to the occasion: notice the verve and point she brings to the opening Preludes of the Suite Bergamasuqe and Pour le piano suites. BIS's mellow resonance falls as easily on the ear as Ogawa's agreeable yet inconsistently inspired pianism” Gramophone Magazine, Awards Issue 2011

“The present volume evinces all of the pianistic virtues that Ogawa has previously shown: crisp fingerwork; clear articulation even in pedalled textures; fluidity and flexibility within a steady rhythm and pulse; lovely touch and tone; ample power wherever needed.” International Record Review, September 2011

“(Lerner's)...sense of color and poetry washed the music with every possible evocative tinge, and the collection, ending appropriately with 'Feux d'artifice', offered Debussy at his most imaginative, played with stunning insight and control.” Newhouse Newspapers

“Håkon Austbø is a committed advocate for these works, vigorous in the Mazurka, floating languidly through Rêverie and bringing out the melancholy of the Valse romantique to the full.” BBC Music Magazine, July 2007 ****