Christopher Howell has wisely eschewed providing detailed
analytical notes for the two Livres (Books) of Claude Debussy’s remarkable Préludes. Instead, he gives an interesting
strategy for listening to them. This is based on approaching the entire cycle
without reference to the “traditional” titles of each Prélude. This
tactic is especially recommended to anyone who has not heard this music before.
Howell proposes that the listener notes the impression made on them during an
“innocent ear” hearing. For the titles are not really titles at all: these are
not character pieces written to evoke a predefined landscape, character or
weather feature. In fact, the composer’s
words or short phrase suggest “what the music might have expressed.” In other words, the image was supplied after
the each Prélude was completed, or at least drafted. It is understood
that Debussy and his daughter ‘Chouchou’ discussed each number at the piano and
debated the “literary or impressionistic” labels. Alas, once these “after-titles”
are known, they colour subsequent hearings. Howell wonders if it might even be
possible for those of us who know these Préludes well, to clear our minds and ask
ourselves “what does the music suggest”. As readers of this review will note, I am
unable to do this. Fifty years is a long time to break a habit.
Another important point is that Debussy did not insist that both
sets of Préludes be
played together, or even as a single book at a time. He considered that they
were uneven and of varying quality. We may disagree with the maestro! Most
recitalists will play selections or maybe select an entire Book for
performance. It is only on CD that they are typically issued complete.
So, each listener will have their own way of approaching this disc. Once a year, I sit down with the piano score and through listen to each book – with a tea break in-between. I guess other people will pick out their favourites. If they are Classic fM listeners, this may be the ubiquitous The Girl with the Flaxen Hair. Through-listening is fine, but I think the listener must keep an eye on the titles (notwithstanding Howell’s dictum) and have the odd time out.
On first hearing a new recording of the Préludes, I usually pick one example from each book to get a general impression of the playing. Firstly, I listen to the Sérénade interrompue from Book I and then Les tierces alternées from Book II. Despite what is said above about ignoring the titles, I cannot help picturing an old guitarist in some sequestered square in Spain. He muses on old love affairs, long forgotten dances, and is perhaps roused by a sly comment from a passing schoolboy. It has been suggested that this piece was a “sketch” for Iberia from Images. Does Howell hit the spot? The answer is Yes. It is the changes of mood that do it for me. And it does remind me of a sultry day in Spain, where alas I have not been for two years thanks to Covid.
Howell points out that the only Prélude that has a
title with a purely technical description is Les tierces alternées. This
is really a study rather than an evocation. Yet even here, there is a charm
that offers interest. Perhaps Debussy is
looking back to the days of the 17th century clavecinists? If the
recitalist can convince me with a magical performance of this Prélude,
then I am certain that the others are good beyond doubt. He does.
Howell impressed me with the entire cycle. A few examples of what caught my ear will suffice. I do keep the images created by the composer’s titles in mind.
Voiles,
with its whole tone and pentatonic scales and cool chords in thirds, perfectly
creates images of boats at anchor in the Mediterranean sun. Ce qu'a vu le vent d'ouest ("What
the west wind saw") is the most demanding piece in Book 1. It gives a
vision of a coast battered by storms and the sea’s fury. Remarkable use is made
of tremolos, sonorous chords and demanding figurations. La Danse de Puck
is summery, witty, sometimes mocking and often capricious. Just as it should
be. Does the pianist summon up the image
of the Cathedral of Ys, the birthplace of Isolde, rising from the sea in La
Cathédrale engloutie? He does: the plainsong, the ancient organum, the
tolling bells and the swing of the tide all combine here to create a perfectly
stated vision of an emerging and then submerging cathedral. One of many Spanish
masterpieces by a Frenchman is La Puerta del Vino. Here the pianist is
required to evoke images of a humid Spanish night, complete with an equally
sultry dancer, close to the Alhambra Palace in Granada. This “habanera”
requires considerable changes of mood and pace. Subtle adjustments to its
dynamics are well played here. Ondine (or Undine) has always been one of
my favourite Debussy’s Préludes. The title refers to
an elemental being associated with streams and water pools. Over the centuries,
she has been transformed into a water nymph. This piece must capture the games
and sports and even mischievousness of Ondine. Therefore, a good contrast of
pianism is required to capture all the changes and chances of her moods. The last Prélude from Book 2 that
struck my ear was Feux d'artifice (Fireworks) which is a complex fusion
of impressionism and sheer Lisztian virtuosity.
It is full of “glittering arpeggios, trills, [and] explosive chords”
which are executed here with perfection. The night sky is truly lit up on
Bastille Day. All these, and the other Préludes are played to my satisfaction
and enjoyment.
Finally, as a bonus, Christopher Howell has included the fugitive “prélude” written as a donation to a charity for the war wounded. Pièce pour l'oeuvre du “Vêtement du blesse” is just under a minute and a half, yet it is a perfect example of the composer’s art. It is lovingly played here on this CD.
There are 94 versions of Livre 1, and for some reason only 79 of Livre II, in the current Arkiv Catalogue (accessed 4 September 2021). So, why another recording. I asked Christopher Howell, he told me: “Debussy’s Préludes in particular, have always been close to me, I was already playing them by the book-full while at university.” He sees it as a stimulating change to move momentarily away from his major projects of British music such as the cycles of Stanford’s and Mackenzie’s works that he is often associated with. He thinks that “it is good to show from time to time that my horizons extend a little further”.
I was impressed by this new recording of Claude Debussy’s masterpiece for piano. The performance met my expectations in every way, the recording is superb and the liner notes refreshing in their approach. It is a worthy addition to the many recordings of this wonderfully evocative piano music.
Track Listing:Claude DEBUSSY (1862-1918)
Préludes Première Livre (1909-10)
Préludes Deuxième Livre (1912-13)
Pièce pour l'oeuvre du "Vêtement du blessé“ (1915)
Christopher Howell (piano)
Rec. 2018-2020 Studios of Griffa & Figli s.r.l., Milan, Italy.
Da Vinci Classics C00424
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