Almost by definition, no pianist is going to attempt the Debussy Etudes who is not already impressively endowed with musicianship and dexterity. Jeffrey Swann is certainly that, and he makes a brave attempt at these extraordinarily demanding pieces. Parts of ''Pour les sixtes'' and ''Pour les agrements'' are pleasantly idiomatic and atmospheric; all too often though, Swann is so impatient with Debussy's harmonies that their full flavour does not register, and his close control, whether of virtuoso passagework or of accent and colour, is not all that it might be. In short, he is surpassed in every department by Mitsuko Uchida in her superlative recording for Philips (and he's not the only one).
Swann obviously has a feeling for the pastoral and mercurial moods of the Faure Preludes (an excellent choice of coupling for all sorts of reasons). Again, however, he never quite captures the wistful confiding tone which is of the essence in Faure, and the dry, unappetizing recording quality must be held partly responsible. On CRD Paul Crossley is recorded at a discreet distance, and his more spacious conception yields greater rewards.'