Claude Debussy : Preludes Book I & II, Images Book I & II , Estampes, Suite Bergamasque, etc - Claudio Arrau - Box Set 3CDS - 2003

Claude Debussy : Preludes Book I & II, Images Book I & II ,

Estampes, Suite Bergamasque, etc -

Claudio Arrau - Heritage - 3CDs - 2003.

More infos about Claudio Arrau : Here

Reviews :

Gramophone music magazine : Joan Chissell -2/1992

"Spellbinding" is the first adjective that comes to mind in trying to

describe them. The sustained intensity of his atmospheric evocation

holds you in a trance throughout the entire two and a quarter hours.

It is difficult to believe that Arrau was already in his late seventies

when making these recordings. 'Spellbinding' is the first adjective

that comes to mind in trying to describe them. The sustained intensity

of his atmospheric evocation holds you in a trance throughout the

entire two and a quarter hours.

Even listening blind, so to speak, I think you might guess the player's

identity. In maturer years Arrau always favoured an unhurried tempo

and a deeper, more reverberant sound-world than many of his

renowned contemporaries. This, coupled with a very warm Philips

recording, makes for a slightly less pellucid Debussy than we

sometimes hear. But that accepted, this reissue never for a moment

leaves you in any doubt as to his remarkable dynamic range and

tonal palette, and the sheer beauty of sound he draws from his

instrument at all times.

Yes, I think just one or two pieces might have benefited from

sharper-cut textures and rhythms, not forgetting ''Les tierces

alternees'', ''Poissons d'or'' and ''La puerta del Vino''. But such a

quibble is totally outweighed by the marvels that we're given, alike

in the exuberance and virtuosity of ''Les collines d'Anacapri'' and

''Ce qu'a vu le vent d'Ouest'', the shapely architectural breadth of

''La cathedrale engloutie'' and ''Hommage a Rameau'', the humour

of ''La serenade interrompue'', the desolation of ''Des pas sur la neige''

and ''Feuilles mortes'', and the magical delicacy of colouring in ''Cloches

a travers les feuilles'' and ''Et la lune descend sur le temple qui fut'',

to pick out just a few. And while making the music entirely his own,

in all contexts he shows that same profound respect for the printed

text in its every detailed expressive marking (and few composers were

more generous with these than Debussy) that characterized his playing

throughout his life.'