Composer: Claude Debussy
Works: Children’s Corner – The little shepherd, The snow is dancing. Préludes: Book 1 – Des pas sur la neige, Le vent dans la plaine, Book 2 – Brouillards, Bruyères. Suite bergamasque – Clair de Lune. Images, Book 1 – Reflets dans l’eau. Estampes – Jardins sous la pluie.
Performers: Olivier de Spiegeleir (piano)
Recording: Conservatoire Royal de Liège, December 1994
Label: Pavane ADW7332 [66.42]
Claude Debussy’s oeuvre, a cornerstone of impressionist music, often calls upon the subtleties of nature for inspiration, presenting a unique challenge for any pianist. The current recording featuring Olivier de Spiegeleir juxtaposes Debussy’s nuanced musical landscapes with Liszt’s evocative depictions of nature, thus creating a thematic exploration of the elemental forces that shaped both composers. However, the potential for a compelling interpretation is marred by de Spiegeleir’s hesitance to fully embrace the dramatic and emotive possibilities inherent in these compositions.
The selection from Liszt’s Années de pèlerinage showcases the composer’s remarkable ability to translate the grandeur of nature into sound. In “Orage,” the tempestuous energy demands a pianist capable of unleashing a gale of intensity. Regrettably, de Spiegeleir’s approach leans toward the cautious, lacking the visceral impact realized by interpreters like Jorge Bolet, who instills a sense of urgency and ferocity into the performance. This hesitance continues with “Au lac de Wallenstadt,” where the challenge of playing simply yet profoundly is not fully realized; the performance feels tentative rather than riveting. The subtlety required for “Waldesrauschen” is similarly understated, failing to conjure the mysterious aura that characterizes the piece.
Contrastingly, “Nuages gris” emerges as a highlight, where de Spiegeleir’s slower tempo captures the suspended tonalities beautifully, allowing the listener to dwell in its ethereal quality. Here, one can sense the potential of his artistry, albeit fleetingly. “Feux follets” also showcases delicate touches, yet the overall impression remains one of a pianist on the brink of greatness, hindered by an inclination toward safety rather than risk-taking.
Turning to Debussy, the pieces selected from his vast repertoire, particularly “Des pas sur la neige,” call for a depth of character and interpretative insight that is regrettably lacking. The performance here does not resonate with the hypnotic qualities that make this piece so compelling; instead, it flattens the emotional landscape into something bland. The extracts from Children’s Corner fare better, particularly “The little shepherd” and “The snow is dancing,” where de Spiegeleir’s lighter touch brings a fleeting charm, yet still falls short of the enchanting nuances achieved by master pianists such as Walter Gieseking.
The recording quality itself is commendable, capturing the clarity of de Spiegeleir’s playing, yet it does not compensate for the interpretative shortcomings. The sound engineering allows for an intimate experience, yet one finds oneself yearning for a more dynamic range that could elevate the music’s inherent drama.
Despite moments of sensitivity revealing a promising musician, the overall execution lacks the compelling urgency and electrifying nuance found in the recordings of the greats. The elements of risk, imaginative interpretation, and emotional depth crucial for these works seem elusive in this performance. While there are glimpses of artistry, they do not coalesce into a unified whole that would warrant strong recommendations. The potential is apparent, yet it remains largely unfulfilled.
