In a release simply titled Claude Debussy, Daniel Barenboim, as pianist and conductor, presents works from different points in the composer’s life. We have the early-period Fantaisie with Martha Argerich (a surprising first-ever recording for her), the middle period masterpiece, La Mer, as well as the final String Sonatas that feature cellist Kian Soltani and violinist Michael Barenboim.
The Fantaisie (1889-1890) is perhaps overshadowed by the early-period landmark Prélude d’Après-midi d’une Faune (1894), but similarities exist in aspects of its temperament as well as the explorative harmonic color. Imaginative woodwind solos that open the Andante (track 1) gently guide us into a dreamy, idyllic world. But an element of surprise awaits: the soloist’s entrance a few moments later sets us on a course of adventure. The melody, now placed amongst chirping and scampering piano cascades, has an altogether new flavor. On the whole, the rhapsodic and jazzy elements have a satisfying conviction, but the piano does sound punchy, with accents coming out harsh. This could be due to mic placement or balance; I did also notice a pervasive stringency, especially in the upper register, in the instrument itself (could it be Barenboim’s own Chris Maene instrument, which he has been playing for the past few years? The booklet doesn’t specify.) A recording I feel fares better is from the mid-90s with Zoltán Kocsis and the Budapest Festival Orchestra. The much smoother blending makes for a less harsh listening experience. Sound issues aside, the Lento (track 2) is beautiful: Argerich, fluid and improvisatory, also lends the more extroverted moments quite the flair. Once again, the woodwinds shine and the interchange between the solo cello and piano is lovely (2’47”).
Both of the string sonatas were the products of a much darker period. Very ill at this point, Debussy faced the daunting inevitability of mortality. Despite planning to create a series of six sonatas for various instruments, he only completed three before his passing in 1918. A troubled anguish fills these late works, in stark contrast to the decadent luxury of the Fantaisie. Both performances are impressive, but the Cello Sonata stands out.
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Despite its relatively short length, the Prologue (track 7) is filled with complexity. The piano’s defiant opening statement, for instance, dissipates into lament as the cello takes over. Throughout, Soltani grasps all the sentimental nuances – sorrow, yearning, passion, and pensiveness. The x-factor in his performance, though, is a raw emotional element amidst his polished playing. At times, the cello’s phrases crack with sadness much like a human voice would, adding gut-wrenching reality to the interpretation. The quiet ending, ironically, is the most powerful moment – the performers reveal the catharsis in its profundity, tying the entire movement together.
The esoteric and ironically-titled Sérénade (track 8) is highly experimental. We might expect something melodious, but instead, there are mystifying exchanges between pizzicato and bowed episodes, with the piano textures following suit. Soltani and Barenboim deftly grasp the unease central to this movement – the lyrical sections seem to want to flow but are abruptly cut off by the staccato textures. I can’t help being reminded of the Book II prelude, La sérénade interrompue- though this later Sérénade is far more ominous.
The album ends on a more positive note with the Staatskapelle Berlin’s fine rendition of La Mer. Its 1905 premier did not get the warmest reception (Debussy likened the conductor to a “wild animal trainer”). However, the work is today one of his signatures with unparalleled writing and a well-crafted structure. The anticipatory timpani tremolo in De l’aube à midi sur la mer (track 10) is accompanied by sonorous touches from the harp. As Debussy starts to layer more instruments and lines, we can easily imagine how the delicate dawn finally blossoms into midday (the high point at 8’36” with the full brass is exhilarating). The ensemble meanders imaginatively through the piece, capturing its caprice. Moments shrouded in hazy mystery, for instance, turn vibrantly playful the next. Listeners will feel fully immersed in this interpretation, thanks to these elements of surprise and a convincing stylistic variety.
The liner notes concisely introduce the works within the context of Debussy’s compositional career. More biographical tidbits, however, are needed as they play a significant role, especially in his final works. The front cover is a bit misleading as well, as it would seem that Barenboim and Argerich appear on the lion’s share of selections. As a collaborative collage with other top-notch artists, a more visually inclusive cover would give us better scope. Mishaps aside, the performances are ultimately enjoyable – a recommended listen.
Claude Debussy
Fantaisie pour piano et orchestre L 73
Sonate pour violon et piano L 140
Sonate pour violoncelle et piano L 135
La Mer – Trois Esquisses symphoniques L 109
Martha Argerich – Piano
Michael Barenboim – Violin
Kian Soltani – Cello
Staatskapelle Berlin
Daniel Barenboim – Conductor
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