CLAUDE DEBUSSY - PRÉLUDES DEUXIÈME LIVRE [2] - SVIATOSLAV RICHTER

Claude Debussy [1862-1918]

Préludes pour piano [Deuxième Livre]

1912-1913
1. La terrasse des audiences du clair de lune [Die Terrasse der
Mondlicht-Audienzen]: Lent
2. Ondine [Undine]: Scherzando
3. Hommage à S. Pickwick Esq. P.P.M.P.C.: Grave
4. Canope [Kanope]: Très calme et doucement triste
5. Les tierces alternées [Die alternierenden Terzen]: Modérément
animé
6. Feux d'artifice [Feuerwerk]: Modérément animé
Sviatoslav Richter, Klavier

1970 veröffentlicht
by berlinzerberus

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There is no proof that Debussy necessarily intended the preludes to be performed as a cycle, although the musical language throughout each book is so consistent that performers often do so.

An important precedent was set on 3 May 1911 by the pianist Jane Mortier [to whom works were dedicated by Bohuslav Martinů and Erik Satie] who played the entire first book of preludes at the Salle Pleyel in Paris.The German-English pianist Walter Morse Rummel, a student of Leopold Godowsky, gave the premiere of the entire second book of preludes in 1913 in London.

Initially, Debussy and other pianists who gave early performances of the works [including Ricardo Viñes] played them in groups of three or four preludes, which remains a popular approach today. This allows performers to choose preludes with which they have the strongest affinity, or those to which their individual interpretive gifts are most suited.

There is a strong tonal relationship between the preludes that suggests that the published order of the preludes is not arbitrary. For example, the first three preludes in the first book [Danseuses de Delphes, Voiles, and Le Vent dans la Plaine] revolve around the key of B♭. In these first three preludes, allusions to the key of B♭ disappear and reappear, yet a strong sense of fluidity and connection between the preludes is still maintained.

However, the order of the preludes is not considered imperative, as is the case with Chopin's preludes, for example. Several pianists have performed the set out of order, and at least one recording, by Ivan Ilić, changes the order of the set entirely.

The first complete recording of both sets was made in England in 1938 by the South African pianist Adolph Hallis.
[Wikipedia]

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