Pr?ludes (12) for piano, Book I, L. 117: Danseuses de Delphes
Pr?ludes (12) for piano, Book I, L. 117: Voiles
Pr?ludes (12) for piano, Book I, L. 117: Le Vent dans la plaine
Pr?ludes (12) for piano, Book I, L. 117: Les sons et les parfums tournent dans l'air du soir
Pr?ludes (12) for piano, Book I, L. 117: Les Collines d'Anacapri
Pr?ludes (12) for piano, Book I, L. 117: Des pas sur la neige
Pr?ludes (12) for piano, Book I, L. 117: Ce qu'a vu le vent d' ouest
Pr?ludes (12) for piano, Book I, L. 117: La Fille aux cheveux de lin
Pr?ludes (12) for piano, Book I, L. 117: La S?r?nade interrompue
Pr?ludes (12) for piano, Book I, L. 117: La Cath?drale engloutie
Pr?ludes (12) for piano, Book I, L. 117: La Danse de Puck
Pr?ludes (12) for piano, Book I, L. 117: Minstrels
Track Listings (12) - Disc #2
Pr?ludes (12) for piano, Book II, L. 123: Brouillards
Pr?ludes (12) for piano, Book II, L. 123: Feuilles mortes
Pr?ludes (12) for piano, Book II, L. 123: La Puerta del Vino
Pr?ludes (12) for piano, Book II, L. 123: Les f?es sont d'exquises danseuses
Pr?ludes (12) for piano, Book II, L. 123: Bruy?res
Pr?ludes (12) for piano, Book II, L. 123: General Lavine-eccentric
Pr?ludes (12) for piano, Book II, L. 123: La Terrasse des audiences du clair de lune
Pr?ludes (12) for piano, Book II, L. 123: Ondine
Pr?ludes (12) for piano, Book II, L. 123: Hommage ? S. Pickwick Esq. P.P.M.P.C.
Pr?ludes (12) for piano, Book II, L. 123: Canope
Pr?ludes (12) for piano, Book II, L. 123: Les Tierces altern?es
Pr?ludes (12) for piano, Book II, L. 123: Feux d'artifice
Paul Jacobs was a specialist in the piano literature of the 20th century, which Debussy could be said to have influenced more than any other figure. Jacobs's recordings of the composer's major piano works remain exemplary-... more »-the playing is technically fluent and musically imaginative, and the accounts are notable not only for their penetrating insight but for a suavity and expressiveness that bring each piece to scintillating life. The piano sound is slightly veiled but warm and resonant. --Ted Libbey« less
Paul Jacobs was a specialist in the piano literature of the 20th century, which Debussy could be said to have influenced more than any other figure. Jacobs's recordings of the composer's major piano works remain exemplary--the playing is technically fluent and musically imaginative, and the accounts are notable not only for their penetrating insight but for a suavity and expressiveness that bring each piece to scintillating life. The piano sound is slightly veiled but warm and resonant. --Ted Libbey
"As a young boy, I heard only Walter Gieseking's old mono recordings of the Debussy Preludes, over and over again. They are ethereal, delicate, and beautiful, more so than any mono recording usually sounds. They have also been considered to be the definitive performance of the Preludes, and I loved them.Then Paul Jacobs came along. His recordings of the Preludes, made in 1978, not only had fantastic sound quality, but Paul's style did Debussy justice where Gieseking's never could, and this listener realized, with astonishment, at how many voices a piano can have. Not every Prelude is a whisper, and although Paul's fingers could make the piano tiptoe through "Danseuses de Delphes," he could make it jump and leap in "Les Collines d'Anacapri." His precision of phrasing and the restraint in his use of dynamics makes the eruption of "Le Vent dans la plaine" startling. And Jacobs makes it sound so easy. As a writer for Fanfare put it: "I would advise all piano collectors to lose no time in acquiring this marvelous set. If you haven't room, chuck out whatever (now forever obsolete, superseded, palpably inferior) recorded performances you may be giving shelf space."The hype you have read here and elsewhere about Jacobs's Preludes isn't hype. The five stars I give this CD set is not given lightly. These recordings are really that good. In fact I would, and may someday, crawl over broken glass to retrieve my 2CD set of Paul Jacobs's recordings of the Debussy Preludes, livres 1 et 2."
The best, a treasure!
mop-n-glow | new york, ny | 05/13/1999
(5 out of 5 stars)
"Out of the dozens of recordings of Debussy's Preludes available, this one will probably remain my favorite for life. Mr. Jacobs's sensitivity and skill are staggering and the Steinway sounds just superb. When I think of Debussy I think of THIS recording.If my music collection were to go up in flames I'd dive in to save this one."
Poetic interpretations
Timothy Paradise | Saint Paul, Mn. | 08/25/2006
(5 out of 5 stars)
"After being extremely disappointed with the Michelangeli recordings I bought of these pieces, I bought the Paul Jacobs' performances.
Jacobs is a poetical pianist, not strictly literal, rather someone who searches for halo
and echo, shine and gloom, adrenaline rush and repose, someone to whom a single note is able to convey musical meaning.
Fellow musicans can learn from him."
The most songful Debussy "Preludes" around
Santa Fe Listener | Santa Fe, NM USA | 04/23/2009
(5 out of 5 stars)
"I can only second the concerted praise for Paul Jacobs' Debussy Preludes. His style is at the opposite extreme from Michelangeli's impersonal, chilly perfection, but it's also distant from Gieseking's brilliant, glittering impressionism. Jacobs emphsizes te melodic possibilities of each Prelude, finding a warm, lyrical line even in the most puzzling and emotionally noncommittal ones. This kind of naturalness is quite rare among Debussy recordings, in my experience. The recorded sound is detailed an very close up, the only flaw being occasional wolliness in the lowest bass notes.
For those who don't know about Jacobs, there's a good Wikipedia entry, which reminds us that he was the NY Phil.'s official pianist from 1961 until his death from AIDS in 1983 at the age of 53. It was his unfortunate distinction to be among the most important musicians -- as well as one of the earliest -- to die of the disease. Jacobs was a passionate advocate of contemporary music and had a long association with Elliott Carter, as well as Boulez, George Crumb, Aaron Copland, indeed almost every important modern composer for the piano. He was the Philharmonic's official harpsichordist, moreover, and played Handel and Bach in recital. In many ways he remains an unsung and very brilliant talent, as these Debussy Preludes evidence. They can go up against accounts by much more famous virtuosos and surpass them for variety, humor, and human warmth."