Debussy: Préludes - Book 1: No. 6, Des pas sur le neige

"Son should have no trouble building a career. She's got the fingers and the personality." DALLAS MORNING NEWS

Debussy's twenty-four Preludes, like Chopin's, are surprisingly self-sufficient. Divided into two books, published in 1910 and 1913, the Preludes are an intimate record of Debussy's inner and imaginative life. Their titles were after-thoughts rather than direct inspirations, largely because Debussy's delicate and complex response to natural phenomena or human idiosyncrasy could hardly be contained or expressed by a simple caption or heading.

The Cuban-American pianist Jorge Bolet isn't readily associated with the music of Debussy, but his selection of sixteen of the composer's Preludes yield performances of refinement and fluidity. Lines are clearly delineated and the myriad of impressions within a single piece are nothing short of kaleidoscopic.

Jorge Bolet made this superbly languid and delicate recording of 16 Préludes by Debussy less than two years before his untimely death in 1990 at the age of 75. The Cuban-born pianist's reputation was largely founded on his mercurial, blockbusting performances and recordings of Rachmaninov and Liszt, but this disc shows a true pianist’s lightness of touch, as well as some superbly sensitive engineering and technical preparation of his beloved Baldwin SD-10 instrument, chosen by Bolet in preference to the far more popular Steinways.

Bolet's own personal fastidiousness – he always recorded in a jacket and tie – is reflected, and in perhaps unexpected and certainly fascinating ways, in this personal selection from the two books of twelve Préludes, and the ordering of them. He may have been a reluctant, and and indeed until the last couple of decades of his life, infrequent visitor to the studio – he once remarked that he would rather give hundreds of concerts than make one recording – but this wariness does not translate itself into metronomical stiffness but rather reflect a refined version of the spontaneity that manifested itself more naturally in his concert playing.

‘Bolet’s performances, with their inimitable beauty of line and shimmering sonority (very much the product of an unobtrusive but subtle virtuoso pedal technique), their poetic freedom within a basic pulse, were like some serene and final distillation of all he had learnt and known, the massive and legendary virtuosity of earlier days directed into an everincreasing concern with more durable musical truths.’ Gramophone, 1991

Piano and electronics when in the hands of these two exceptional artists can weave an astonishingly magical spell. Exceptionally beautiful is the track entitled “Lux Perpetua”; a serene and gentle landscape sculpted in subtle sounds.

The potential of piano and electronics is immense and this cd brings to our attention some of the beautiful possibilities. It also showcases the piano in “extended” mode where strings maybe stopped or “effected” in some way, or caused to sound in a different way, for example by being plucked from inside the piano. The results are often surprising! In all a world of sound is created which shows the piano in a different, often reflective light.

Philip Mead and Rob Godman have become internationally renown exponents of this genre and this recording is their first together. They came together when both were appointed to the Music Department of the University of Hertfordshire and their work has developed apace, each stimulating the other.

But this CD is not exclusively piano and…It contains purely electronic work and a rather special purely piano piece to conclude. It is a recording to relax into and to reflect upon and to be surprised by!

"Matthews has been heralded for the success with which he has taken the inspiration of the piano masterpieces and skillfully created orchestral works of great variety, beauty and drama. “…these pieces are more than orchestrations, they are recreations achieved by entering into the mind and thought of the original composer. Beautiful performances.” Sunday Telegraph 2007

On these best-selling CDs many classical masterpieces are given an original interpretation for choir. The Accentus Chamber Choir, under the direction of Laurence Equilbey, is unanimously recognised as one of the world’s finest vocal ensembles.

Bonus (audio): Interview with Laurence Equilbey / Recording of Der Doppelgänger (Schubert)