Customer Reviews

Debussy: Piano Works

5 star:		(3)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I have heard and admired Rubinstein, Van Cliburn, Vasary, and Entremont playing some of these pieces, among others. Weissenberg plays them with a fresh approach to tempo and rubato. The rhythm is more heavily accentuated than in the other pianists' versions. In addition to several of the more well-known works of Debussy, Weissenberg chose to include "Etude No. IXI pour les Arpeges Composes" in this recording and he makes it into a hypnotic miniature fireworks display of his virtuosity.

The slower pieces, such as "Clair de lune," are played with sensitivity and tenderness, with Weissenberg bringing out the beauty of every note while never losing the forward momentum of the piece, gradually building its level of sound and intensity and then taking it back down; it's a magical performance.

The first three selections, "Pagodes," "La Soiree dans Grenade" and "Jardins sous la pluie" are exotic perfumed slices of musical heaven, with "Pagodes," especially, being exquisitely performed. The "Doctor Gradus ad Parnassum" and "L'Isle Joyeuse" are a scintillating cascades of notes, while "Serenade for the Doll" is absolutely charming. Although my sentimental favorite of the different versions of "La Plus que Lente" remains Rubinstein's 1970 recording, this one by Weissenberg is also wonderful; it's different, fresh, with a more pronounced rhythm in the faster passages that evokes the image of dancers in a ballroom.

Perhaps my favorite selection on this CD is "The Snow is Dancing," which Weissenberg plays in such a way that one can practically see the swirling snowflakes dancing in the air. Actually, all of the selections are beautiful small musical gems, played with elegance, grace, charm, and passion. This CD receives my highest recommendation.

One of the most infamous discs of Debussy's piano works ever recorded,sealing Weissenberg's controversial reputation.The rather conservative Penguin Record Guide disliked it so much that they awarded no stars and said it was 'totally unacceptable artistically' and 'the most brutal account of Debussy ever committed to disc'.

That was back in the mid-eighties.Now,his approach seems like a breath of fresh air:woodpecker like staccato in the Passepied from the 'suite bergamasque'and swirling cascades of notes in a double expresso account of 'L'isle Joyeuse'.

Fast,hurtling tempos and disregard for the softer end of the spectrum are the norm in these performances but that is part of the pleasure in a peculiar sort of way as the charisma of the playing is inescapable.A quick comparison with a young glamorous french pianist in the same works,everything is more flat footed,less visceral.

While not quite in the same league as the Bach and Rachmaninov Weissenberg also recorded for DG at the end of his career,this is still worth getting to know!

This CD contains a goodly portion of favorite Debussy compositions: the Suite Bergamasque (including, of course, Clair de Lune), Children's Corner, Estampes and La Fille aux Cheveux de Lin. Those listeners used to the "Impressionistic" approach of Walter Gieseking may not at first like the crisper, harder-edged performances of Alexis Weissenberg, but Weissenberg's delicacy, finesse and strong musical intelligence should win over even the most persnickety connoisseurs. It's a lovely CD, perfect lazy-day listening, and at a very reasonable price.

This CD, although long out of date, retains a crisp and refreshing air that must be heard to be appreciated. Yes, Weissenberg leaves behind the dreamy melodicism of others, but by contrast, he plays in a way that will keep you awake. This is no opium dream!

Although Alexis Weissenberg was not on my list of favorite pianists, I must admit that I kept for him respect as an artist honest and convinced of his art. I still have in your collection with suspicion his complete works for orchestra by Chopin and an old LP transcriptions of Bach.

Weissenberg has been the most renowned Bulgarian pianist of his generation, along with another equally talented as it was compatriot Yuri Boukoff, Prokoviev brilliant interpreter.

His Debussy keeps a perfect balance of evanescent atmosphere, suggestive sensuality and sense of color that convinces without sin of excessive intellectual refinement, Weissenberg run a Debussy with absolute artistic integrity. Ultimately that is what an artist accounts to my view.

In memoriam!

Alexis Weissenberg playing Debussy. Exquisite!! What more needs to be said. If you are looking for your first disc of Debussy paino music you would do no better than buy this one!

I find this performance by Alexis Weissenberg to have but one fault; The recording itself. He plays it far too fast. The impressionistic/contemplative style that Debussy's works are written for is totally thrown away. In its place is a work totally devoid of personality, and mechanical. My greatest pet peeve when listening to an artist's rendition of a classic is the seemingly ubiqitous, but subtle need to quicken the tempo, as if speed were the transcending value of a performance. These melodies are almost sacred! Speed freaks should not track mud over them to perhaps, make a name for themselves for acheiving a newer "interpretation" of it.