It is with the second book of Preludes that Livia Rev begins her recital, then plays Masques in the middle and the second set of Images to conclude it. Thus, we plunge straight into the rather scary mist of ''Brouillards'', and I have to admit disappointment here, for Rev seems too well-lit and unmysterious, taking 3'02'' as compared with 4'41'' from Gordon Fergus-Thompson (ASV), who is admittedly deliberate but vastly more atmospheric and memorable. However, that is just one piece, and she is a fine and well-proven Debussy player who in these Preludes is interpretatively at home, though of course on her own terms. Accept that, and there's much to enjoy in her clean, thoughtful accounts of these 12 pieces with their unfussy playing, more lightly pedalled than by most pianists, for example in ''Les fees sont d'exquises danseuses'' as well as ''Brouillards''. Although Rev has to spread some left-hand chords in ''Canope'', this elusive piece has a special sad beauty and its successor, ''Les tierces alternees'' offers fine fleetness and voicing. By the way, at 1'16'' in ''La Puerta del Vino'' the G flat chord should be major, not minor.
However, if you like your Debussy more highly flavoured generally and look for a greater characterization of the different Preludes (such as more tenderness in ''Bruyeres'' and more humour in ''General Lavine—eccentric''), you will surely prefer the endlessly imaginative Fergus-Thompson and possibly also Michelangeli (DG), though I find something self-consciously sculptured about the playing of the great Italian in this particular recording. Jacques Rouvier, too, is tasteful and enjoyable on Denon, and while he does not offer all the personality of the two pianists just mentioned he, like Rev, is a selfless guide to this wonderful music. Rev is well enough recorded, but one occasionally hears faint background noises, as after 2'25'' in ''General Lavine''. So, indeed, are the other artists, but Fergus-Thompson enjoys especially good sound and remains my first choice in this music.
The rest of Rev's valuable recital must be discussed more briefly. The rarely played Masques is finely done here, its mysterious, fatalistic dance rhythms and brief melodies reminding us of Debussy's enigmatic comment that it mirrored the human tragedy. The Images are, again, typical of this pianist in their quiet eloquence, but somehow the first two of them don't give me that extra frisson that one looks for in the finest Debussy playing, and which is achieved through tone, texture and that subtle elasticity of timing which is called rubato. On the other hand, ''Poissons d'or'' glitters with admirable fluidity and bravura.'