Debussy’s twenty-four Préludes, like Chopin’s, are surprisingly self-sufficient. Divided into two books, published in 1910 and 1913, the Préludes are an intimate record of Debussy’s inner and imaginative life. Their titles were after-thoughts rather than direct inspirations, largely because Debussy’s delicate and complex response to natural phenomena or human idiosyncrasy could hardly be contained or expressed by a simple caption or heading.
The Cuban-American pianist, Jorge Bolet, isn’t readily associated with the music of Debussy but his selection of sixteen of the composer’s ‘Préludes’ yield performances of refinement and fluidity. Lines are clearly delineated and the myriad of impressions within a single piece are nothing short of kaleidoscopic.
claude DEBUSSY
Danseuses de Delphes (Book 1 No. 1)
La puerta del vino (Book II No. 3)
Des pas sur la neige (Book I No. 6)
La danse de Puck (Book I No. 11)
La sérénade interrompue (Book I No. 9)
Le vent dans la plaine (Book I No. 3)
Bruyères (Book II No. 5)
‘General Lavine’ – eccentric (Book II No. 6)
Canope (Book II No. 10)
Ce qu’a vu le vent d’ouest (Book I No. 7)
La fille aux cheveux de lin (Book I No. 8)
Minstrels (Book I No. 12)
La cathédrale engloutie (Book I No. 10)
Ondine (Book II No. 8)
La terrasse des audiences du clair de lune (Book II No. 7)
Feux d’artifice (Book II No. 12)
Jorge Bolet, piano