Debussy: Préludes - Books 1 & 2 (24, complete)

“As you'd expect, Aimard's accounts of the 24 pieces are technically impeccable, whether articulating every rhythmic detail in La Danse de Puck, or perfectly layering the chordal accumulations of La Cathédrale Engloutie, but there is something matter of fact about it all” The Guardian, 29th August 2012 ***

“a clean if rather dispassionate account of Debussy’s complete piano Preludes. Aimard was recorded playing his own Steinway: a cosy arrangement that may explain his devotion to the instrument’s reverberations. The resonances lend a special aura to Debussy’s more processional pieces.” The Times, 31st August 2012 ***

“Aimard stresses clarity of thought and timbre, as well as seriousness and fidelity, in all he does. You might think such qualities...were less important in Debussy’s Préludes, which put a premium on sensitivity, imagination and range of colour...But Aimard is no slouch in those departments either...Aimard challenges us to listen rather than dream.” Financial Times, 15th September 2012 ***

“This is remarkable pianism. However, Aimard appears to be treating the Preludes as absolute music, with only intermittent sense of the visual. That works fine in some of the pieces but this sober reading conveys too little of Debussy's humour and passion...If this all seems rather negative, then make no mistake, this is still a strong set of the Preludes.” BBC Music Magazine, December 2012 ***

“For [Aimard], Debussy must always be allowed his own voice and few performances on record have proceeded with so little impediment or with greater transparency and lucidity. Yet time and again I found myself longing for Aimard to step out into the light instead of confining himself so exclusively to shadows and half-lights.” Gramophone Magazine, November 2012

“Lubimov plays a 1925 Bechstein for Book 1 and a 1913 Steinway for Book 2. The earlier piano has, perhaps, a subtler range of colours than the later one, and retains a lovely silvery edge at full stretch. The Bechstein’s clarity, pleasing in a different way, brings out more of the Russian in Lubimov, everything up front rather than internalised.” Sunday Times, 20th May 2012

“Debussy's piano repertoire is not a novelty on disc but there is an intriguing back story here: Russian pianist Alexei Lubimov came across two old pianos which inspired a new, more authentic "period instrument" approach to Debussy's Préludes...The results are at once fresh and enigmatic.” The Observer, 3rd June 2012

“Debussy's use of pianistic colour is absolutely central to this tremendous set from Alexi Lubimov. He uses the characterful sonorities of two pianos from close to Debussy's time...not claiming historical fidelity, but simply exploring the timbres of the early 20th-century piano. And what an exploration it is, for the instruments allied to Lubimov's individuality bring the pieces alive in ways that are by turns mesmerising, thrilling, beguiling and playful.” BBC Music Magazine, July 2012 *****

“Aided by wonderful ECM production, the results are heavenly. Lubimov is rightly attentive to Debussy’s finicky dynamic markings. Des pas sur la neige is exquisitely controlled, and La cathédrale engloutie’s bell sounds boom out with real power...Magnificent, in other words.” The Arts Desk, 30th June 2012

“Everything Lubimov plays is thought through in depth and mature, musicianly detail, so that the performance never sounds intellectualised or manicured. To the two books of Préludes he brings a variety of nuance and colour that is the very opposite of processed piano-playing” Financial Times, 7th July 2012 ****

“Lubimov presents vividly characterised, spacious readings on two different period instruments...Essential listening for anyone wanting to hear these works in a new light...Half archaeology, half artistry; all pleasure!” Classical Music, 30th June 2012 *****

“an unusually subjective engagement that transcends an acute observation of the score...In addition, I very much like ECM's minimalist cover, excellent presentation and sound quality, lending the whole release a satisfying integrity.” Gramophone Magazine, September 2012

“This is a recording which starts out being about the instruments on which it is played, and ends up being more about the music than anything else...this is a set to treasure and avoid getting covered in coffee stains and fingerprints at all costs. It commands respect and oozes quality on all fronts, and I’m already shortlisting it for disc of the decade, let alone the year.” MusicWeb International, April 2013

“Debussy’s atmospheric piano pieces have been not so much orchestrated as re-imagined by Colin Matthews...much has been gained...in shimmering effects” The Telegraph, 20th August 2010 ****

“…Bavouzet commands all the shading, nuance and timbral sensitivity one expects in Debussy, together with virtuoso flair and characterful spontaneity that adds welcome backbone to the composer's "hammerless" aesthetic.” Gramophone Magazine, July 2007

“Jean-Efflam Bavouzet has a wonderfully light touch, imbuing 'Les collines d'Anacapri' with a skittish exuberance, or creating delicate wisps of mist in 'Brouillards' evoking Debussy's advice to forget that the piano has hammers. The opening of 'La terrasse des audiences au clair de lune' floats languorously, captured in marvellous sound, with warm bass textures and clarity without harshness in the piano's upper registers.” BBC Music Magazine, July 2007 ****

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

“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

“Rogé makes this collection all the more memorable with his effortless interpretation of Debussy's style through his own sensitive tone and expression. Performing Debussy's preludes since the tender age of eight has left Rogé with an ingrained love for the composer's music” Andrew McGregor, bbc.co.uk, 6th June 2005

“A superb disc” The Independent *****