Review: Debussy – “Images” – Piano Works – Saskia Giorgini

Back in 2020, I reviewed Saskia Giorgini’s live recording with Ian Bostridge of Schubert’s Die Schöne Müllerin. Having enjoyed the collaborative effort and interpretative elements of the performance, I looked forward to hearing how they would translate in a solo capacity. This new album features a curation of Debussy’s finest (and most well-known) piano works.

The first Arabesque (track 2) puts Giorgini’s fine tone quality on display, with a pleasing integration of mellowness and lyricism. In the Schubert recital, I had made particular note of the cleanliness of Giorgini’s articulation, and it’s at the forefront of the second Arabesque (track 3). The trills are neat and perky but not uptight, and manage to capture chirpy optimism and innocent charm.

The Prélude from Pour le Piano (track 5) takes the character in a different direction with stormy textures that Giorgini might have been able to play up a bit more. The presence of the accented melody is certainly there, but compared to some other recordings, it errs more on the complacent side. The swirling, undulating textures that are so important in driving the suspense could also benefit from more urgency. Pascal Rogé’s rendition might seem almost reckless to some, but it certainly has an exciting ferocity that’s difficult to ignore. Vikingur Ólaffson takes a less-is-more approach as far as pedaling is concerned; however, this drier approach is exactly what gives his interpretation that added bit of verve.

The Sarabande (track 6) exemplifies some of Debussy’s finest and quintessential harmonies and colors: Giorgini gives this movement a stately, at times declaratory profile, and the sound production is wonderful, especially when Giorgini dip into the middle and low registers. Here, the deep and rich chords allow us to fully appreciate Debussy’s unexpected harmonic centers and turns.

Estampes might be the one set that is less convincing than the others. Pagodes (track 8) feels too present and uniform in character; in this given scenario, Giorgini’s directness and clarity of sound proves a drawback in evoking the atmospheric scenery. A fine reading by Alain Planès (Harmonia Mundi) does several things to better evoke this character. His slower tempo lets the sounds resonate and mix as they dissipate; phrases are also steeped in a little more pedal, which works wonderfully to create the Impressionistic, hazy brushstrokes that we could easily envision in a painting.

Jardin sours la Pluie (track 10) boasts the pianist’s signature articulate approach, and while there’s by no means a right or wrong in interpreting rain, this feels more like a cautious drizzle. Those looking for something more pointe, might turn to a fine account by Mao Fujita: where there is just a bit more substance and drive in textures.

As for the two sets of Images, the first series stands out. The runs in Reflets dans l’eau (track 11) are simultaneously effortless and scintillating, and the peace of the quieter moments offer listeners real moments of reflection. The scurries of Mouvement (track 13) are delightful, and Giorgini does a nice job of clearly showing us the layers that Debussy keeps adding to the music.

Pentatone’s sound engineers excel in bringing out the intricacies of the Bösendorfer piano Giorgini plays, as well as the instrument’s lovely temperament. In her own foreword, Giorgini admits to the challenges of finger control and architectural conception in these short works. While there are a few exceptions, I’d say she is largely successful in showing familiarity and mastery of these challenges. An enjoyable listen all around.

Recommended Comparisons

Rogé | Ólafsson | Planès | Fujita

Debussy
Danse, “Tarantelle styrienne”, L. 69
Nocturne in D-Flat Major, L. 82
Pour le Piano, L. 59
Estampes, L. 100
Images, Set I&II, L. 110,111
L’isle joyeuse, L. 106
Saskia Giorgini – Piano

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