This is a new addition to Sir Mark Elder and the Hallé’s ongoing Debussy series, combining original orchestral works with orchestral arrangements by Colin Mathews. This time around, we have the original three “Images”, “Prélude à L’après-Midi D’un Faune” and “La Plus Que Lente”, with an arrangement to “Et La Lune Descend Sur Le Temple Qui Fut”, from the second book of Images for piano.
The three “Images pour orchestra” are texturally and atmospherically rich, however, Elder recognizes both their contrasts and unity and has the ability to paint each one differently. Debussy gives precise instructions in the score to the aesthetic he wants to create, and Elder creates this beautifully. He projects a multi-textural, sonorous sound in the opening “Gigues” with a coolness of emotion which runs throughout; at times, the icy cold atmosphere ebbs and flows around the sinister and frantic dance-like episodes. The plaintive ending is perfectly paced and simply fades away.
In stark contrast, “Par Les Rues et Par Les Chemins”, the first section of “Iberia”, couldn’t be more dramatic. The vivacity of flamenco comes alive, creating a conversational element as if eavesdropping on a Spanish street. “Les Parfums de la Nuit” has the same transparencies as “Gigues”. Elder paints a languorous scene — luscious, atmospheric, expressive and ambrosial. The calm of the Spanish night bursts with excitement in the opening of “Le Matin d’un Jour de Fête”. Elder understands the narrative, depicting it in a riot of color on the grandest scale. Finally in “Rondes du Printemps”, the Hellé players find moments of tenderness, capturing the essence of the dance in a colorful soundscape. Throughout, Elder and the Hallé celebrate the complex textures and timbres, allowing all the lighter detail to stand out in a very different way to Charles Dutoit with Orchestre Symphonique du Montréal or Pierre Boulez with The Cleveland Orchestra. A similar approach can be found in Pierre Monteux and the London Symphony Orchestra’s recording of 1963.
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Completing the release are three shorter pieces, eloquently programmed. Colin Matthew’s arrangement of “Et la Lune Descend sur la Temple Qui Fut”, from the second book of Images for piano, is a highly personal orchestration, clever and sympathetic rather than imitative of Debussy’s unique voice. Debussy’s curious orchestral arrangement of his “La Plus que Lent”, with a part for cimbalom, characterfully played by Ed Cervenka, adds a gypsy-esque atmosphere.
Those familiar with John Wilson’s recent (and exquisite) reading of the “Prélude l’après-midi d’un faune” (reviewed here) will be struck by the difference from this new version. The atmospheric hazes are richer, with a different approach to the phrasing — especially in the woodwind, which gives a divergent and equally valid perspective on the narrative. The strings produce a beautifully rounded sound and the timbres are varied. Katherine Baker, the Hallé’s flutist, is credited, but her other woodwind colleagues are equally impressive, not just here but throughout.
The rhythmic precision from the Hallé and their sense of unity is impressive, bringing Elder’s visions to fruition. The conductor’s diligently follows Debussy’s markings, giving the musical phrases just the right amount of time to feel naturally spontaneous. There is a translucency in the sound, each layer clear, distinctive and balanced. Apart from “Prélude l’après-midi”, which was recorded in Manchester’s Bridgewater Hall, the others were made in the BBC Studio, Salford, England. The studio acoustics give sufficient resonance to allow the music to breathe, and there is no noticeable difference in quality between the final track, an illustration of a high-quality engineering. With booklet notes which complement and enhance the listening experience, this is altogether a highly enjoyable and illuminating release.
Debussy – Images, Et La Lune Descend Sur Le Temple Qui Fut (Orch. Colin Matthews), La Plus Que Lente, Prélude à L’après-Midi D’un Faune
Hallé Orchestra
Sir Mark Elder
CD HLL 7554
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