Composer: Claude Debussy
Works: Prélude à l’après-midi d’un faune; Petite Suite (piano duet version); La plus que lent (orchestral version); Claire de lune (from Suite Bergamasque); Fêtes (from Trois Nocturnes); Préludes (Premier livre): No. 8 La fille aux cheveux de lin, No. 10 La Cathédrale engloutie, No. 12 Minstrels; Le matin d’un jour de fête (from Ibéria); Sonata for flute, viola & harp: finale; Pelléas et Mélisande: Mes longs cheveux; La Mer: Dialogue du vent et de la mer
Performers: Cleveland Orchestra/Vladimir Ashkenazy; Katia & Marielle Labèque; Montreal Symphony Orchestra/Charles Dutoit; Pascal Rogé (piano); Mélos Ensemble
Recording: Decca, 1961-1996
Label: DECCA
Claude Debussy’s oeuvre embodies a rich tapestry of impressionistic soundscapes, marked by his innovative harmonic language and orchestral color. The compilation “The World of Claude Debussy” offers an intelligently curated selection of his key works, providing a cross-section of the composer’s stylistic evolution. While some may critique the methodology of presenting movements in isolation rather than complete pieces, it is essential to recognize that this format serves as an entry point for new listeners, potentially igniting a deeper appreciation for Debussy’s artistry.
Vladimir Ashkenazy’s interpretation of “Prélude à l’après-midi d’un faune” with the Cleveland Orchestra stands out for its atmospheric depth. The lush orchestral textures are rendered with a sumptuous clarity that transports the listener to the languorous world of the faun. Ashkenazy’s ability to delineate the piece’s sinusoidal ebb and flow captures the essence of Debussy’s fluidity. The subsequent orchestral performance of “La Mer” under Charles Dutoit displays a thrilling kinetic energy, particularly in the finale, where the interplay between the wind and sea is vividly articulated. However, the absence of the first movement diminishes the overall impact of the culmination, leaving a sense of incompleteness.
The Montreal Symphony Orchestra’s execution of “Le matin d’un jour de fête” from “Ibéria” also raises questions about the efficacy of extracting movements from larger works. While the orchestra performs with commendable precision, the segment lacks the narrative coherence that would be present if experienced within the full context of “Ibéria.” Conversely, Pascal Rogé’s interpretations of “Claire de lune” and the three Préludes reveal a nuanced understanding of Debussy’s harmonic subtleties and rhythmic playfulness, showcasing his ability to evoke a dreamy atmosphere through sensitive phrasing.
The piano duet version of “Petite Suite” performed by the Labèque sisters is a revelation. Their synergy and rhythmic vitality breathe new life into Debussy’s early work, presenting it as a vibrant dialogue rather than a mere display of technical prowess. The recording quality across the compilation is commendable, with Decca’s engineering ensuring clarity and balance, allowing the intricate details of the orchestration to shine through even in the older recordings.
Each performance in this compilation, while sometimes limited by the nature of the selections, nonetheless contributes to a broader understanding of Debussy’s multifaceted genius. The interpretations are generally distinguished, and even when the context is fragmented, the artistry of the musicians involved remains compelling. This collection serves as both an introduction and a reflection on Debussy’s legacy, affirming his position as a cornerstone of modern classical music. The musical dialogue presented here invites listeners to explore further, deepening their engagement with this masterful composer.
