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Beethoven 250: Krystian Zimerman performs the complete Beethoven Piano Concertos
Renowned Polish pianist Krystian Zimerman joins forces with the London Symphony Orchestra and its Music Director Simon Rattle at LSO St Luke's for a three-concert cycle of the five piano concertos. The stream will take place on DG Stage, a new video music service for classical concert streams from Deutsche Grammophon. Read more >>

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Topic: Debussy, La Cathedrale Engloutie (Preludes, Book I) (Read 12091 times)

rachfan

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Debussy, La Cathedrale Engloutie (Preludes, Book I)

on: July 05, 2006, 01:43:03 AM

I actually studied this prelude twice, once as a teenager, then later in life--and did some things differently the second time around (this recording).

Update: I deleted the CD cut (49 downloads) and replaced it with the source tape recording which has better fidelity.

Comments welcome.

La cathedrale engloutie .mp3 (7704.72 kB - downloaded 195 times.)

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troglodyte

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Re: Debussy, La Cathedrale Engloutie (Preludes, Book I)

Reply #1 on: July 05, 2006, 03:57:17 PM

Well done! Great dynamic contrast and the piece is well kept together. My only complaint would be that a little more rhythmic stability might be called for. For example the slight ritardando before the first fortissimo section breaks the spell of this being churchbells sounding - no way churchbells can make any kind of rubato - but overall very good!

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rachfan

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Re: Debussy, La Cathedrale Engloutie (Preludes, Book I)

Reply #2 on: July 06, 2006, 01:13:10 AM

Hi Troglodyte,

Thanks very much for your nice comments on my recording of this prelude. On your point on the ritardando, actually what I was doing there was allargando limited only to the last two left hand octaves of section A just prior to the entrance of the A2 motif. But your point is well taken, and I've put a notation in the score.

Actually, on rhythmic stability, what I thought you were going to bag me on are the quiet transition measures immediately following section A2. I did take a bit more time there than technically allowed by the tempo. The reason is that I elected to use the "silent retaking of chords", a form of finger pedaling, that Gieseking also employed in that same place... but I was not quite as adept as he was, ha-ha! It's probably not too noticeable though.

Again, thanks for commenting.

David

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