We are sometimes suspicious of the word 'early' as
applied to music from the pen of a well-known
composer. Caution is wise, although the greater the
talent the less likely music of inferior quality.
The intensity of an impressionistic atmosphere
[listen -- track 5, 0:01-1:32] places
Debussy right at the crux of the stylistic language
he developed, and which has swept up innumerable
composers ever since.
These two young performers display their understanding
of the music, the settings, and their feelings towards
projecting it to a listener. In consequence, they form
an imaginative partnership projecting these quintessential
settings with all the sensitivity that they require. The
recording meets the subtle qualities
engendered by this partnership of voice and piano, and
catches the beauty of the interplay
[listen -- track 11, 2:55-4:05].
Copyright © 12 April 2003
Basil Ramsey, Eastwood, Essex, UK
Debussy: Early Songs
DXL 1052 DDD Stereo NEW RELEASE 63'00" 2003 Deux-Elles Ltd
Gillian Keith, soprano; Simon Lepper, piano
Debussy: Pantomime; Clair de lune; Mandoline; En sourdine; Fantoches (poèmes de Paul Verlaine); Les cloches; Voice que le printemps; Romance 'L'âme évaporée'; Romance 'Silence ineffable'; Paysage sentimental; Romance d'Ariel; Regret; Musique (poèmes de Paul Bourget); Coquetterie Posthume; (poème de Théodore Gautier); Nuit d'étoiles; Zephyr; Aimons-nous et dormons; Il dort encore; Le Lilas; Les Roses; Rêverie; Souhait; Sérénade; Fête galante; Pierrot (poèmes de Théodore de Banville); Apparition (poème de Stéphane Mallarmé) |
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