Debussy: Piano Music, Vol. 3

Editorial Reviews

All Music Guide - Uncle Dave Lewis
In BIS' Debussy: Piano Music, Vol. 3, Japanese pianist Noriko Ogawa takes us through Claude Debussy's "La Boîte a JouJoux," the second book of his "Preludes," and three shorter pieces. Debussy's piano music, even "complete" sets of it, is recorded with such frequency that one may wonder what Ogawa might be able to add to the discussion that has not been said before. But when the disc goes in, Ogawa's will be the only voice you hear -- she has an amazing control of her touch and a complete understanding of the variety of sounds that it can produce, resulting in an approach to Debussy that is natural, bewitching, transparent, and even spectral. In softly focused pieces, ...
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Editorial Reviews

All Music Guide - Uncle Dave Lewis
In BIS' Debussy: Piano Music, Vol. 3, Japanese pianist Noriko Ogawa takes us through Claude Debussy's "La Boîte a JouJoux," the second book of his "Preludes," and three shorter pieces. Debussy's piano music, even "complete" sets of it, is recorded with such frequency that one may wonder what Ogawa might be able to add to the discussion that has not been said before. But when the disc goes in, Ogawa's will be the only voice you hear -- she has an amazing control of her touch and a complete understanding of the variety of sounds that it can produce, resulting in an approach to Debussy that is natural, bewitching, transparent, and even spectral. In softly focused pieces, such as in "Brouillards," one cannot even hear or sense Ogawa's touch; the music radiates forward from the piano as though spontaneously generated and floats in the air. By comparison, the touch rings out "La Puerta del Vino" with assertiveness -- this appears to be the only recording of this piece among many heard where the Habanera rhythm does not break down under the stress of executing the spray-like flourishes in the piece. Ogawa's "Ondine" is a perfect example of what makes Debussy: Piano Music, Vol. 3, so superlative -- it is flexible and expressive, but dynamically all the various little components and figures within the piece are spelled out precisely. "Feux d'artifice" comes roaring out from the distance practically into one's lap, but by the time the second section of the piece the piano sound seems to be melting like soft candle wax, an illusion that one hears in concert but is seldom picked up on recordings. BIS' sound recording is extremely generous, picking up on every nuance and detail emanating from Ogawa's piano, even when her footfalls are so distant that they seem ghostly, yet it is never overpowering or noisy in loud passages. Debussy: Piano Music, Vol. 3, represents state-of-the-art Debussy. There are always critics who say that no one will ever surpass departed giants such as Walter Gieseking or Samson François in this literature. As fine as these historical artists were, it is hard to imagine that even they wouldn't sit up and take notice of this special and amazing recording if they could: its warmth, Ogawa's command of the music, and her sensitivity to its requirements. Noriko Ogawa's Debussy: Piano Music, Vol. 3, should prove completely satisfying to everyone who loves Debussy's music, and if the number of recordings of it out there is any indication, this seems to encompass most people who still bother to listen to classical music.
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Product Details

  • Release Date: 2/28/2006
  • Label: Bis
  • EAN: 7318590013557
  • Catalog Number: 1355
  • Sales rank: 303,463

Tracks

Disc 1
  1. 1–12 Préludes (12) for piano, Book II, L. 123 - Claude Debussy & Robert Suff (38:15)
  2. 2 Berceuse héroïque for piano (or orchestra), L. 132 - Claude Debussy & Robert Suff (4:06)
  3. 3 Page d'album (Pièce pour l'oeuvre du "Vêtement du blessé"), for piano, L. 133 - Claude Debussy & Robert Suff (1:17)
  4. 4 Elégie, for piano, L. 138 - Claude Debussy & Robert Suff (2:14)
  5. 16–19 La boîte à joujoux (The Toybox), ballet, L. 128 - Claude Debussy & Robert Suff (33:34)
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Album Credits

Performance Credits
Noriko Ogawa Primary Artist
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