I reviewed the first volume of Paul Crossley's ongoing Debussy series earlier this year (Sony Classical, 4/93), and had several reservations about his performances of the two sets of Images and the first book of Preludes. Here I am happier fortunately. On track 1, Crossley's playing of ''Brouillards'' (the first Prelude of Book 2) successfully evokes the disturbing fog of a winter night in which objects appear suddenly and menacingly. I actually think the marking Modere suggests a quicker tempo—Gieseking takes 2'44'' as against Crossley's 3'33'', but there again, the admirably sensitive Gordon Fergus-Thompson takes a minute longer than Crossley!
But it's still instructive to note that Crossley is slower than Gieseking in 11 of these 12 pieces, the exception being ''Les tierces alternees'', which the British pianist plays with admirable finesse. I don't suggest that this has to be wrong, but sometimes I look for more electricity and spontaneity, for example in ''Feux d'artifice'' and also in ''Ondine'', a piece marked Scherzando but here sounding careful in the way that the French call voulu. Crossley doesn't catch all the special sad magic of ''Canope'' either, though its ending is perfectly done. Furthermore, his rubato is sometimes too idiosyncratic for my taste, as on the third and fourth pages of ''La puerta del Vino'', and I expressed strong views on that subject when reviewing the other disc in April. But this playing is all of a piece stylistically (though pieces are well enough characterized individually) and overall I am pretty convinced. This Debussy is beautifully textured, with fine control of fingers and pedals; indeed, it is most sympathetically presented and the recording, made at The Maltings, Snape, is satisfyingly atmospheric, with a glowing sound rather than a brilliant one.
This applies equally to the Estampes and Children's Corner. In the former work. ''Pagodes'' is a touch deliberate, but has lovely sounds; indeed, Crossley's tonal beauty is consistent. Furthermore, ''Jardins sous la pluie'' and (in Children's Corner) ''Dr Gradus ad Parnassum'' have the spontaneity that I sometimes miss in his account of the Preludes. After my strictures of this artist's earlier Debussy disc, I'm glad to say that I have enjoyed this one.'