进口CD:德布西:钢琴版Debussy: Piano Edition(CD)4783690C
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商品描述When the eighteen-year-old Debussy set about writing the first piano piece of his that we know of, in the summer of 1880, there was very little in the French repertoire for the instrument that he could build on Brief essays by Gounod and Massenet merely indicated that their real interest lay elsewhere, in the opera house Berlioz was no pianist, while Bizet, wonderful keyboard player that he was (even Liszt admired him), left nothing for solo piano to match his set of duet pieces, Jeux d'enfants Chabrier's piano music would soon become one of the young Claude's enthusiasms, but most of this was still to come in 1880, as were all but the first of Fauré's Nocturnes.
The Danse bohémienne of 1880 does not give much in the way of promise of what lay ahead, nor does the movement of a symphony written at the same time which got no further than a version for piano duet He composed these while acting as house pianist for Tchaikovsky's patroness Nadezhda von Meck, and in reply to her envoi of the Danse the Russian composer commented that it was "nice, but too short, with themes that don't go anywhere, and the form is bungled and not unified" Whether this harsh judgement put Debussy off writing piano music, we cannot know, but it is surprising that such a capable pianist should have written, or at least published, nothing for the instrument during the 1880s He spent the most formative years of that decade first with an eye on the Prix de Rome, working at cantatas, choruses and fugues (the Cortège and Air de danse from his winning entry of 1884 show what a master of light music he could be when the mood took him) After that came the two years in Rome itself, where he began the struggle to free himself from the influences of Massenet and later of Wagner.
Reports of Debussy's playing from his student years tell us that he erred on the side of bombast, accompanied by a certain amount of puffing and blowing This was in direct contrast with his keyboard manner in later years, when critics complained that they couldn't always hear him Certainly there's no bombast about the piano works that began to appear at the turn of the decade, beginning with the delightful Petite Suite for piano duet, with its implicit reverence towards the fêtes galantes of the eighteenth century, as described by Verlaine The two Arabesques are examples of the way in which decoration in Debussy's music was increasingly doing the duty of more solid substance, and in this are echoed by the five other piano pieces that date from around 1890: Valse romantique suggests that he had now heard some Fauré, while the titles Ballade slave and Tarantelle styrienne exploit the French penchant for the exotic with very little that's Slavic or Styrian (whatever that might be) in the music itself Even the Fantaisie for piano and orchestra, completed in April 1890, treats the solo instrument as a concertante partner, although there is plenty of energy in the race to the final chord.
Perhaps the first signs of Debussy's mature piano style appear in the Suite bergamasque which he gave to a publisher in 1890, but which for some reason did not appear until 1905 The famous "Clair de lune" was originally given the title "Promenade sentimentale" (which perhaps warns against turning the composer's Andante into an Adagio) Only in the 'Prélude' does Debussy assume the grand manner -- with a self-deprecating smile? Dating from 1891, the Marche écossaise was the composer's first commission, using a piper's tune provided by John Meredith Read, who had been US consul-general for France But almost as a decade earlier, Debussy's attention was now largely given to vocal and orchestral works -- the opera Pelléas et Mélisande, Prélude à l'après-midi d'un faune and the Nocturnes The few piano pieces he did compose before 1903 -- the three Images oubliées (the epithet is not his) and the suite Pour le piano -- show him still searching for a coherent keyboard style and trying out pseudo-harpsichord figuration and, in the third Image, responses to visual stimuli.
As these obviously bring in the whole question of Impressionism, it may be as well to mention the composer's only take on the movement At work in 1908 on his orchestral Images, he told his publisher "I'm trying to write `something else' -- realities, in a manner of speaking -- what imbeciles call 'Impressionism', a term employed with the utmost inaccuracy, especially by art critics who use it as a label to stick on Turner, the finest creator of mystery in the whole of art!" Composing "realities" called for extreme technical accuracy, and this scientific approach did bring Debussy close to the Impressionist painters in the sense that their "atmospheric" canvases were profoundly influenced by the science of complementary colours Nor was this all As the novelist Edmond Duranty noted in 1879, while some new painters tried to render the trembling of leaves, the shimmer of water and the vibration of sun-drenched air, others aimed to paint the walk, movement and hustle and bustle of passers-by in the modern city of Paris, in this evoking "the fleeting beauty" Baudelaire talked of in his essay "The Painter of Modern Life" These two subjects, Nature and the modern city, together with the historical and geographical exotic, now led Debussy to compose some of his most beautiful and inventive music.
With the Estampes of 1903, he truly found his mature piano style They were written just after he had seen an exhibition of Turner's paintings in London, and they certainly contain their share of artistic mystery, whether in the gamelan-influenced textures of "Pagodes", the slightly acidulous Hispanicisms of "La soirée dans Grenade" (a nod here to Ravel's "Habanera" of 1895) or the refeshing showers of "Jardins sous la pluie" amid which a voice intones the composer's favourite popular song: "Nous n'irons plus au bois" Mystery abounds in Masques, which Debussy said was "the tragic expression of existence" -- a remark that might seem to go against the piece's dancing spirit, except that there are also disconcerting moments when logic seems to be in peril In contrast, L'Isle joyeuse is one of the composer's most life-affirming works, rhythmically more stable than Masques and giving hints that La Mer lay just round the headland.
Just as Debussy was never happy to be given any kind of label, so the titles of his pieces are, as with Masques, at times puzzling and even contradictory Thus two of the three pieces in the first series of Images do not correspond explicitly with any painting or view of Nature Instead, Debussy uses the word 'image' in a more symbolic sense "Hommage à Rameau", perhaps inspired by hearing the opera Castor et Pollux conducted by Vincent d'Indy in 1903, contains no reference that has ever been discovered to any work by Rameau, but is emblematic of that restrained dignity, free of heaviness or self-advertisement, that Debussy so treasured in the music of his predecessor Likewise, "Mouvement" is an abstract piece, perhaps sharing with Edgar Degas, a painter Debussy knew and admired, a fascination with moving figures "Reflets dans l'eau" and the three pieces of the second series are all pictures in music, whether imagined or, as in the case of "Poissons d'or", real: we hear the swoops and twitches of two large carp as featured on a Japanese plaque in black lacquer, touched up with mother-of-pearl and gold, that hung on the wall in the composer's study.
The six delightful vignettes of Children's Corner, dedicated to his daughter Chouchou "with her father's tender apologies for what follows", end with the first of Debussy's popular or city pieces, "Golliwogg's Cake- Walk", and he continued the genre in the two books of Préludes, published in 1910 and 1913 'Minstrels' depicts a group of red-jacketed musicians who played saxophones and guitars outside the Grand Hotel, Eastbourne when Debussy stayed there in 1905, and "General Lavine -- excentric" (Debussy's spelling) a music hall artist once described as "a comic juggler, half tramp and half warrior", hence the trumpet calls A milder eccentric appears in the shape of Mr Pickwick, adorned with the initials that Debussy found so amusing and standing for "Perpetual President-Member Pickwick Club" -- a patriot too, as the opening bars proclaim Elsewhere Nature is given full rein (wind, the evening air, hills, snow, fog, leaves, heather) together with bells, Spanish lovers, sails, dancers from Ancient Greece and Shakespeare, and finally fireworks Ravel was not the only musician to immerse himself in 'these admirable masterpieces' of the first book in April 1910; and if the second book took longer to establish itself, that may be owing to its more advanced language -- by then Debussy had heard and been amazed by Stravinsky's Petrouchka.
His last two major piano works both date from the summer and autumn of 1915 The war weighed heavily on him, all the more so because age and incipient cancer made him feel so helpless The three movements of En blanc et noir all carry epigraphs that refer, directly or indirectly, to the "realities" of the war In the first, all men are adjured to "dance" -- that is, to take part in the hostilities -- and the music sweeps along with irresistible brio In the second, the enemies of France are portrayed by what Debussy called "the poisonous fumes" of "Ein' feste Burg", finally despatched by the "Marseillaise" The epigraph to the third, "Yver, vous n'estes qu'un villain" (Winter, you're nothing more than a criminal), maybe suggests a winter of the spirit, brought on by war At all events there's no triumphalism here Bleak chords sound out, energy dissipates, leaving mere ashes of optimism.
The piano parts of the two sonatas, with violin and cello, are spare, precisely judged and a world away from reflections in the water and the sounds of bells through leaves, recalling his near-final words to a young composer: "Distrust the exceptional" If the twelve Études are exceptional (and they are), it is not through any desire to astonish the bourgeois, but simply through Debussy's scientific analyses and "composition" (in the literal sense of "putting together") of his chosen data Editing volumes of Chopin was the spur, as we can tell from the study in sixths, retaining Chopin's key of D flat major But the one in fourths breaks wholly new ground, departing from the hallowed imposition of thirds on which harmony had been based for centuries For years after Debussy's death these pieces were neglected: weird, driven by strange logic.. and ferociously difficult to play They look forward to the piano works of Boulez, Ligeti, Griffes and many others, not entirely renouncing sonorous luxury, but enlivening it with passages of wild energy and searching chromaticism -- music of the future, but minus the Wagnerian publicity.
Disque 1
1 Préludes - Book 1 - 1. Danseuses de Delphes Jean-Yves Thibaudet 3:08
2 Préludes - Book 1 - 2. Voiles Jean-Yves Thibaudet 4:14
3 Préludes - Book 1 - 3. Le vent dans la plaine Jean-Yves Thibaudet 2:01
4 Préludes - Book 1 - 4. Les sons et les parfums tournent dans l'air du soir Jean-Yves Thibaudet 4:08
5 Préludes - Book 1 - 5. Les collines d'Anacapri Jean-Yves Thibaudet 2:54
6 Préludes - Book 1 - 6. Des pas sur la neige Jean-Yves Thibaudet 4:49
7 Préludes - Book 1 - 7. Ce qu'a vu le vent d'ouest Jean-Yves Thibaudet 3:14
8 Préludes - Book 1 - 8. La fille aux cheveux de lin Jean-Yves Thibaudet 2:20
9 Préludes - Book 1 - 9. La sérénade interrompue Jean-Yves Thibaudet 2:52
10 Préludes - Book 1 - 10. La cathédrale engloutie Jean-Yves Thibaudet 6:54
11 Préludes - Book 1 - 11. La danse de Puck Jean-Yves Thibaudet 2:57 9
12 Préludes - Book 1 - 12. Minstrels Jean-Yves Thibaudet 2:26
13 Estampes - 1. Pagodes Jean-Yves Thibaudet 5:16
14 Estampes - 2. Soirée dans Grenade Jean-Yves Thibaudet 5:32
15 Estampes - 3. Jardins sous la pluie Jean-Yves Thibaudet 3:43
16 Deux Arabesques - No. 1 Andante con moto Jean-Yves Thibaudet 3:40
17 Deux Arabesques - No. 2 Allegretto scherzande Jean-Yves Thibaudet 2:54
18 Rêverie Jean-Yves Thibaudet 4:17
19 Masques Jean-Yves Thibaudet 4:38
20 L'Isle joyeuse Jean-Yves Thibaudet 5:57
Disque 2
1 Préludes - Book 2 - 1. Brouillards Jean-Yves Thibaudet 3:39
2 Préludes - Book 2 - 2. Feuilles mortes Jean-Yves Thibaudet 3:38
3 Préludes - Book 2 - 3. La puerta del vino Jean-Yves Thibaudet 3:24
4 Préludes - Book 2 - 4. "Les fées sont d'exquises danseuses" Jean-Yves Thibaudet 3:08
5 Préludes - Book 2 - 5. Bruyères Jean-Yves Thibaudet 2:57 EUR 0,99
6 Préludes - Book 2 - 6. "General Lavine" - eccentric Jean-Yves T:47
7 Préludes - Book 2 - 7. La terrasse des audiences du clair de lune Jean-Yves Thibaudet 4:56
8 Préludes - Book 2 - 8. Ondine Jean-Yves Thibaudet 3:20
9 Préludes - Book 2 - 9. Hommage à S. Pickwick, Esq., P.P.M.P.C. Jean-Yves Thibaudet 2:15
10 Préludes - Book 2 - 10. Canope Jean-Yves Thibaudet 3:00
11 Préludes - Book 2 - 11. Les tierces alternées Jean-Yves Thibaudet 2:26
12 Préludes - Book 2 - 12. Feux d'artifice Jean-Yves Thibaudet 4:15
13 D'un cahier d'esquisses Jean-Yves Thibaudet 5:31
14 Morceau de Concours (c.1904) Jean-Yves Thibaudet 0:40
15 Danse Bohémienne Jean-Yves Thibaudet 2:04
16 Nocturne (L. 82) Jean-Yves Thibaudet 6:51
17 Images oubliées - Lent (mélancolique et doux) Zoltán Kocsis 3:27
18 Images oubliées - Souvenir du Louvre (Sarabande) Zoltán Kocsis 4:53
19 Images oubliées - Quelques aspects de "Nous n'irons plus au bois parce qu'il fait un temps insupportable Zoltán Kocsis 4:08
20 Pour le piano - 1. Prélude Jean-Yves Thibaudet 3:59
21 Pour le piano - 2. Sarabande Jean-Yves Thibaudet 6:33
22 Pour le piano - 3. Toccata Jean-Yves Thibaudet 3:38
Disque 3
1 Images - Book 1 - 1. Reflets dans l'eau Jean-Yves Thibaudet 5:26
2 Images - Book 1 - 2. Hommage à Rameau Jean-Yves Thibaudet 7:47
3 Images - Book 1 - 3. Mouvement Jean-Yves Thibaudet 3:31
4 Images - Book 2 - 1. Cloches à travers les feuilles Jean-Yves Thibaudet 4:21
5 Images - Book 2 - 2. Et la lune descend sur le temple qui fût Jean-Yves Thibaudet 5:40
6 Images - Book 2 - 3. Poissons d'or Jean-Yves Thibaudet 3:33
7 Le petit nègre (L. 114) Jean-Yves Thibaudet 1:41
8 Children's Corner - 1. Doctor Gradus ad Parnassum Jean-Yves Thibaudet 1:57
9 Children's Corner - 2. Jimbo's Lullaby Jean-Yves Thibaudet 2:58
10 Children's Corner - 3. Serenade for the Doll Jean-Yves Thibaudet 2:07
11 Children's Corner - 4. The Snow is dancing Jean-Yves Thibaudet 2:22
12 Children's Corner - 5. The little Shepherd Jean-Yves Thibaudet 2:10
13 Children's Corner - 6. Golliwogg's Cakewalk Jean-Yves Thibaudet 2:40
14 La plus que lente (L. 121) Jean-Yves Thibaudet 4:53
15 Valse romantique (L. 71) Jean-Yves Thibaudet 3:59
16 Ballade pour piano à quatre mains Jean-Yves Thibaudet 7:51
17 Danse (Tarantelle styrienne) (L. 69) Jean-Yves Thibaudet 4:53
18 Mazurka (L. 67) Jean-Yves Thibaudet 3:12
Disque 4
1 Suite bergamasque - 1. Prélude Jean-Yves Thibaudet 4:02
2 Suite bergamasque - 2. Menuet Jean-Yves Thibaudet 4:33
3 Suite bergamasque - 3. Clair de lune Jean-Yves Thibaudet 4:46
4 Suite bergamasque - 4. Passepied Jean-Yves Thibaudet 3:36
5 Hommage à Haydn Jean-Yves Thibaudet 1:51
6 Élégie (L. 38) Jean-Yves Thibaudet 2:33
7 Berceuse héroïque Jean-Yves Thibaudet 4:04
8 Page d'album (Pour l'oeuvre du "Vêtement du Blessé) Jean-Yves Thibaudet 1:08
9 12 Etudes pour le piano - 1. Pour les "cinq doigts" (d'après Monsieur Czerny) Jean-Yves Thibaudet 3:07
10 12 Etudes pour le piano - 2. Pour les Tierces Jean-Yves Thibaudet 3:29
11 12 Etudes pour le piano - 3. Pour les Quartes Jean-Yves Thibaudet 5:08
12 12 Etudes pour le piano - 4. Pour les Sixtes Jean-Yves Thibaudet 4:18
13 12 Etudes pour le piano - 5. Pour les Octaves Jean-Yves Thibaudet 2:40
14 12 Etudes pour le piano - 6. Pour les huit doigts Jean-Yves Thibaudet 1:37
15 12 Etudes pour le piano - 7. Pour les Degrés chromatiques Jean-Yves Thibaudet 2:10
16 12 Etudes pour le piano - 8. Pour les Agréments Jean-Yves Thibaudet 5:28
17 12 Etudes pour le piano - 9. Pour les Notes répétées Jean-Yves Thibaudet 3:02
18 12 Etudes pour le piano - 10. Pour les Sonorités opposées Jean-Yves Thibaudet 5:25
19 12 Etudes pour le piano - 11. Pour les Arpèges composés Jean-Yves Thibaudet 4:51
20 12 Etudes pour le piano - 12. Pour les Accords Jean-Yves Thibaudet 5:28
21 Etude retrouvée Jean-Yves Thibaudet 4:07
22 Les soirs illuminés par l'ardeur du charbon Philippe Cassard 2:10
23 Pour le Vêtement du Blessé Philippe Cassard 1:08
Disque 5
1 Petite Suite for piano duet - 1. En bateau Alfons Kontarsky 3:39
2 Petite Suite for piano duet - 2. Cortège Alfons Kontarsky 3:14
3 Petite Suite for piano duet - 3. Menuet Alfons Kontarsky 2:52
4 Petite Suite for piano duet - 4. Ballet Alfons Kontarsky 3:04
5 Lindaraja Alfons Kontarsky 4:42
6 Symphony in B minor for piano duet Aloys Kontarsky 8:42
7 Marche écossaise Aloys Kontarsky 6:42
8 L'enfant prodigue - scène lyrique (1884) - Cortège et air de danse pour piano a quatre mains Alfons Kontarsky 4:13
9 Ballade pour piano à quatre mains Alfons Kontarsky 6:30
10 6 Épigraphes antiques - for Piano Duet - 1. Pour invoquer Pan, dieu du vent d'été Aloys Kontarsky 2:11
11 6 Épigraphes antiques - for Piano Duet - 2. Pour un tombeau sans nom Aloys Kontarsky 3:39
12 6 Épigraphes antiques - for Piano Duet - 3. Pour que la nuit soit propice Aloys Kontarsky 1:59
13 6 Épigraphes antiques - for Piano Duet - 4. Pour la danseuse aux crotales Aloys Kontarsky 1:54
14 6 Épigraphes antiques - for Piano Duet - 5. Pour l'Egyptienne Aloys Kontarsky 2:40
15 6 Épigraphes antiques - for Piano Duet - 6. Pour remercier la pluie au matin Aloys Kontarsky 2:07
16 En blanc et noir - for 2 pianos - 1. A mon ami A. Kussewitzky Alfons Kontarsky 4:27
17 En blanc et noir - for 2 pianos - 2. Au Lieutenant Jacques Charlot Alfons Kontarsky 6:42
18 En blanc et noir - for 2 pianos - 3. A mon ami Igor Stravinsky Alfons Kontarsky 4:19
Disque 6
1 Prélude à l'après-midi d'un faune - for two pianos Aloys Kontarsky 8:53
2 Nocturnes - Transcription for Piano Duet by Maurice Ravel (1875-1937) (Copyright by E. Fromont, 1909) - 1. Nuages Anne Shasby 6:55
3 Nocturnes - Transcription for Piano Duet by Maurice Ravel (1875-1937) (Copyright by E. Fromont, 1909) - 2. Fêtes Anne Shasby 5:44
4 Nocturnes - Transcription for Piano Duet by Maurice Ravel (1875-1937) (Copyright by E. Fromont, 1909) - 3. Sirènes Anne Shasby
5 Première Suite pour Orchestre - Version pour 4 mains - I. Fête Philippe Cassard 5:37
6 Première Suite pour Orchestre - Version pour 4 mains - II. Ballet Philippe Cassard 4:11
7 Première Suite pour Orchestre - Version pour 4 mains - III. Rêve Philippe Cassard 6:34
8 Première Suite pour Orchestre - Version pour 4 mains - IV. Cortège et Bacchanale Philippe Cassard 8:37
9 Fantasy for piano and orchestra - Andante ma non troppo-Allegro giusto Zoltán Kocsis 6:2
10 Fantasy for piano and orchestra - Lento e molto espressivo Zoltán Kocsis 7:05
11 Fantasy for piano and orchestra - Allegro molto Zoltán Kocsis 6:17
发行日期：2012年5月8日基本信息外文名:Debussy: Piano Edition表演者:Jean Yves Thibaudet,Zoltán Kocsis,Philippe Cassard,Anne Shasby,等乐团:Budapest Festival Orchestra指挥:Iván Fischer作曲:Claude Achille DebussyCD碟数:6格式:套装版权提供:DeccaISBN:0028947836902条形码:0028947836902ASIN:B008LSBSDQDebussy:Pianoedition VariousClaude Achille DebussyIván FischerBudapest Festival OrchestraJean Yves Thibaudet
