Debussy

Zimerman is the very model of a modern virtuoso. His overrriding aim is vivid projection of character. His quasi-orchestral range of dynamic and attack, based on close attention to textual detail (there are countless felicities in his observation of phrase-markings) and maximum clarity of articulation, is the means to that end. As a result, he draws out the many connections in this music with the romantic tradition, especially in pianistic tours de force such as ''Les collines d'Anacapri'', ''Ce qu'a vu le vent d'Ouest'' and ''Feux d'artifice'', which are treated to a dazzling Lisztian elan the equal of any Debussy playing I have ever heard.

Debussy's song cycle Ariettes oublieesof 1888 set six poems from Paul Verlaine's collection Romances sans paroles, beginning with C'est l'extase and Il pleure dans mon coeur - penetratingly poetic images of love's ecstasy and rainlike tears of despair. The six Ariettesare the departure point for the arrangement realized in 2012 by British composer Robin Holloway in response to a request from the San Francisco Symphony. Holloway has altered their order while adding a further four Debussy songs, binding the whole work together with brief orchestral links and a feverish epilogue, 'con moto agitato'. This world first recording is given by French soprano Vannina Santoni, with the Orchestre Philharmonique de Radio France under the baton of Mikko Franck. The Finnish conductor, a great admirer of Debussy, here also presents the master's bewitching masterpiece La mer, first heard in Paris in 1905.

« J’aime presque autant les images que la musique », confie Debussy en 1911. L’aveu ne surprend pas chez ce passionné de peinture préraphaélite et d’art japonais, adorateur de Turner (« le plus beau créateur de mystère qui soit en art »). Dans le domaine du piano, c’est en se référant à la dimension visuelle qu’il atteint sa pleine maturité, comme en témoignent les trois Estampes (1903), les deux séries d’Images (1905 et 1907) et deux pièces isolées relevant du même univers : L’Isle joyeuse et Masques (1903-1904). Il généralise alors les titres évocateurs.

Lilya Zilberstein has already taken on some of the virtuoso pillars of the repertoire for DG—Brahms's Paganini Variations, the Mussorgsky Pictures, Rachmaninov's Third Concerto and so it is fascinating to hear her in music of a more subtle evocation and delicacy. And although her Debussy and Ravel are hardly consistent or to the manner born, they are rarely less than individual or distinguished. Like other Russian pianists before her she places greater emphasis on the music's sensuous and expressive warmth than on its formal clarity. Her response to say, ''Le soiree dans Grenade'' (from Estampes) is richly coloured and inflected (a reminder, perhaps, of Falla's awe of Debussy's Hispanicism) and in ''Jardins sous la pluie'' her virtuosity evokes a coldly drenched and windswept garden its flowers momentarily bejewelled by passing sunlight. She is also highly successful in the more objective patterning of Pour le piano, making the opening Prelude's fortissimo chording and shooting-star glissandos resonate with unusual power.

Debussy's Études are really the only set that deserves to be put beside Chopin's. What makes them so special? Like his, they are truly "practice pieces," systematically exploring various aspects of keyboard technique. But at the same time, they are poetic works of art, full of fantasy, charm, and musical invention. Uchida's recording is almost universally regarded as the finest version of these works to appear in modern times. Her playing combines effortless virtuosity with pianistic precision, keeping the music's artistic and pedagogical tendencies in a state of exquisite tension. This disc also established Uchida's claim to be recognized as one of the most interesting and talented pianists now active. You need to hear it.

Fresh from his hugely acclaimed and multi -award-winning album Johann Sebastian Bach, Icelandic pianist Víkingur Ólafsson’s third Deutsche Grammophon recording pairs works by two revolutionary French composers separated by a century and a half: Jean-Philippe Rameau and Claude Debussy.

23-year-old French pianist Kim Bernard is the first laureate of the Fondation Gautier Capuçon. Kim Bernard studied piano from the age of 5, won first prize at the 2012 Montrond-les-Bains International Competition and at the National Pianistic Nights Competition. His first album is dedicated to Chopin, Ravel and Debussy. French cellist Gautier Capuçon has launched the Fondation Gautier Capuçon with the aim of helping young musicians establish a professional career. The foundation will offer financial support and mentorship to young musicians throughout their studies and in the early stages of their career.

BlattWerk’s first CD is testament to the innovation and wealth of ideas that are its trademark. In addition to the world’s first complete recording of an exisiting arrangement (Debussy), BlattWerk will record two of our own arrangements (Bartók & Ravel) and a new composition (Feldmann) for reed quintet. With the album titled ’figurations’ we present four works that underline the sonic flexibility of the ensemble and illuminate the figurative in music from various perspectives. These works are really special to us, which is why we want to share them with the world!