A great Debussy recording
06/02/2002
(5 out of 5 stars)
"Youri Egorov's Debussy may not be as familiar as that of Gieseking, Arrau and others, but he deserves to be ranked among the finest Debussians on record. His playing on this set is sensitive, dramatic and moving, bringing fresh insights into some of the greatest (in my opinion the greatest) piano music ever written. Writing about Debussy's music is difficult, because he refuses to give up his secrets too easily; therefore, ever bar will mean something different to somebody else. Indeed, I find that every fresh interpretation of these Preludes paints a different picture in my mind. With Egorov, we are clearly in the hands of a pianist who knows how to seek out and fully realise Debussy's subtleties. I found 'Danseuses de Delphes', the first Prelude, extremely sensual (not to say erotic) in its evocation of an ancient civilisation, and Egorov followed it up with a particularly luxuriant reading of 'Voiles' (one could feel the breeze rushing through the sails - if, of course, we assume that Debussy meant sails and not veils!). Egorov also hypnotises in 'Les sons et les parfums', relishing Debussy's delicious harmonies and maintaining a highly sensual atmosphere from first bar to last. The same could be said of the wondrous 'La terrasse des audiences du clair de lune'. The colours this pianist draws from his instrument are extraordinary.Egorov is equally at home in the more vibrant evocation of 'Les collines d'Anacapri', one of my favourites, where he magically graduates the first notes from sounding distant to present. I also admired his "wrists of steel" in 'Ce du'a vu le vent d'Ouest', where the elemental violence is quite nerve-wracking (which is what it's all about). The sexually-charged 'La Puerta del Vino' is another triumph in the same vein. And let us not forget Debussy's humour. Egorov's wonderful 'Minstrels' are true rogues, and Mr Pickwick bubbles joyously. There are also many magical sonorities in 'Ondine', where Egorov paints as mysterious and alluring a creature as you could wish.To end this review, performances of two of the greatest Preludes: 'La Cathedral Engloutie' and 'Des pas sur la neige'. The power of the former is as magnificent as the desolation of the latter. Egorov lets us wander inside the vast cathedral even as he evokes is granduer, and his use of silence and stillness in 'Des pas' lends an atmosphere of terrible regret and loneliness. Do invest in this recording: it is surely one of the finest versions of this wonderful music."
Track Listings (13) - Disc #1