Debussy Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Claude Debussy
Label: Hyperion
Magazine Review Date: 1/1991
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: KA66416
Tracks:
| Composition | Artist Credit |
|---|---|
| (6) Images, Movement: Reflets dans l'eau |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (6) Images, Movement: Hommage à Rameau |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (6) Images, Movement: Mouvement |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (L') Isle joyeuse |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Danseuses de Delphes |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Voiles |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Le vent dans la plaine |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Les sons et les parfums |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Les collines d'Anacapri |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Des pas sur la neige |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Ce qu'a vu le vent d'Ouest |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La fille aux cheveux de lin |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La sérénade interrompué |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La cathédrale engloutie |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La danse de Puck |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Minstrels |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
Composer or Director: Claude Debussy
Label: Hyperion
Magazine Review Date: 1/1991
Media Format: CD or Download
Media Runtime: 64
Mastering:
DDD
Catalogue Number: CDA66416
Tracks:
| Composition | Artist Credit |
|---|---|
| (6) Images, Movement: Reflets dans l'eau |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (6) Images, Movement: Hommage à Rameau |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (6) Images, Movement: Mouvement |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (L') Isle joyeuse |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Danseuses de Delphes |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Voiles |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Le vent dans la plaine |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Les sons et les parfums |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Les collines d'Anacapri |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Des pas sur la neige |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Ce qu'a vu le vent d'Ouest |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La fille aux cheveux de lin |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La sérénade interrompué |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La cathédrale engloutie |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: La danse de Puck |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
| (24) Préludes, Movement: Minstrels |
Claude Debussy, Composer
Claude Debussy, Composer Lívia Rév, Piano |
Author: Christopher Headington
When Livia Rev recorded Book 1 of Debussy's Preludes for Saga in 1975 (nla) she deservedly found a welcome for her idiomatic playing. Having over the years followed this up with more Debussy from the same company she then gave us three short pieces from the Children's Corner Suite in a mixed recital called ''For Children'' on Hyperion ((CD) CDA66185, 8/86). This new programme, recorded in February 1990, shows a good sense of style, and I enjoyed the First Set of Images for their quiet poise and gravity as well as the sparkle of the final ''Mouvement''. Just once or twice one might question Rev's rubato in ''Hommage a Rameau'', but that is a personal matter about which others may feel differently, and in any case it is not enough to disturb. I will confess, though, that her account of L'isle joyeuse slightly disappoints: it seems a little held back where surely it should leap forward irrepressibly.
In the 12 Preludes Rev offers clear textures, thoughtful phrasing and a good dynamic range together with fidelity to the text. Yet, having said this, I have to add that I do not find them really magical, and ultimately this is because they are not as fully characterized as they might be. Listen to ''La fille aux cheveux de lin'', perhaps, and see whether you agree that it is a trifle brisk and prosaic for a piece headed Tres calme, lacking freshness and innocent wonder: Rev takes 2'13'' here compared to Gordon Fergus-Thompson on ASV with 2'56'' and Michelangeli's 2'48'' (DG), and as it happens she is also faster than both Jacques Rouvier on Denon (2'21'') and Martin Jones (2'31'') for Nimbus. Similarly, I find Fergus-Thompson more sweetly tender in ''La serenade interrompue'', partly because he gives more time for its gentle phrases to flower (his timing here is 2'50'' against Rev's 2'28''), and still more spontaneous and airborne in ''La danse de Puck''. Indeed, I may as well say here that I prefer his deeply responsive account of this First Book of Preludes to any other of those listed here, and it is well recorded too.
Rev's recording is mostly satisfying, with plenty of body, though here and there (for example in ''Ce qu'a vu le vent d'ouest'') the bass register lacks clarity, and there is a touch of hardness in the forte high octaves at 1'55'' in ''La cathedrale engloutie''; in Images there's also some quiet extraneous sound of what appears to be birdsong near the end of ''Reflets dans l'eau'', beginning at 4'12''.
Martin Jones's performance of the First Book of Preludes has the great advantage of being coupled with Book 2 on a CD lasting nearly 80 minutes; for many collectors that could be a deciding factor. But while I admire several things here, such as the sensitive ''Danseuses de Delphes'' and ''Des pas sur la niege'', there are some minor inaccuracies and to my mind he is not as inside Debussy's world as Fergus-Thompson is. Michelangeli, great though he can be in Debussy, is not at his best here, being oddly heavyweight and (in the final ''Minstrels'') humourless. Rouvier is tasteful and enjoyable overall, but Fergus-Thompson goes still more directly to the heart of this music.'
In the 12 Preludes Rev offers clear textures, thoughtful phrasing and a good dynamic range together with fidelity to the text. Yet, having said this, I have to add that I do not find them really magical, and ultimately this is because they are not as fully characterized as they might be. Listen to ''La fille aux cheveux de lin'', perhaps, and see whether you agree that it is a trifle brisk and prosaic for a piece headed Tres calme, lacking freshness and innocent wonder: Rev takes 2'13'' here compared to Gordon Fergus-Thompson on ASV with 2'56'' and Michelangeli's 2'48'' (DG), and as it happens she is also faster than both Jacques Rouvier on Denon (2'21'') and Martin Jones (2'31'') for Nimbus. Similarly, I find Fergus-Thompson more sweetly tender in ''La serenade interrompue'', partly because he gives more time for its gentle phrases to flower (his timing here is 2'50'' against Rev's 2'28''), and still more spontaneous and airborne in ''La danse de Puck''. Indeed, I may as well say here that I prefer his deeply responsive account of this First Book of Preludes to any other of those listed here, and it is well recorded too.
Rev's recording is mostly satisfying, with plenty of body, though here and there (for example in ''Ce qu'a vu le vent d'ouest'') the bass register lacks clarity, and there is a touch of hardness in the forte high octaves at 1'55'' in ''La cathedrale engloutie''; in Images there's also some quiet extraneous sound of what appears to be birdsong near the end of ''Reflets dans l'eau'', beginning at 4'12''.
Martin Jones's performance of the First Book of Preludes has the great advantage of being coupled with Book 2 on a CD lasting nearly 80 minutes; for many collectors that could be a deciding factor. But while I admire several things here, such as the sensitive ''Danseuses de Delphes'' and ''Des pas sur la niege'', there are some minor inaccuracies and to my mind he is not as inside Debussy's world as Fergus-Thompson is. Michelangeli, great though he can be in Debussy, is not at his best here, being oddly heavyweight and (in the final ''Minstrels'') humourless. Rouvier is tasteful and enjoyable overall, but Fergus-Thompson goes still more directly to the heart of this music.'
Debussy Piano Works
Debussy Piano Works
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