Jean-Efflam Bavouzet - Debussy: Complete Piano Works, Vol. 5 (2009) [Hi-Res]
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BAND/ARTIST: Jean-Efflam Bavouzet
- Title: Debussy: Complete Piano Works, Vol. 5
- Year Of Release: 2009
- Label: Chandos
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +booklet
- Total Time: 01:04:44
- Total Size: 202 / 959 mb
- WebSite: Album Preview
Tracklist
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01. Khamma (version for piano): Prelude
02. Khamma (version for piano): Scene 1: Le Temple interieur du Grand-Dieu Amun-Ra
03. Khamma (version for piano): Scene 2: La grande porte s'ouvre et une legere forme voilee est
04. Khamma (version for piano): Premiere Danse
05. Khamma (version for piano): Deuxieme Danse
06. Khamma (version for piano): Troisieme Danse
07. Khamma (version for piano): Au Movement-Soudain
08. Khamma (version for piano): Scene 3: C'est l'aube froide et grise du matin qui lentement devient rose
09. Jeux (version for piano): Prelude
10. Jeux (version for piano): Du fond, a gauche, apparaissent deux jeunes filles craintives et curieuses
11. Jeux (version for piano): Une des deux jeunes filles danse seule
12. Jeux (version for piano): On apercoit le jeune homme au fond, a gauche, qui semble se cacher
13. Jeux (version for piano): Ils dansent ensemble
14. Jeux (version for piano): Le jeune homme a suivi cette derniere danse par curiosite d'abord
15. Jeux (version for piano): Dans l'emportement de leur danse, ils n'ont pas remarque l'attitude d'abord inquiete
16. Jeux (version for piano): Pourtant, le jeune homme intervient en ecartant leurs tetes doucement
17. Jeux (version for piano): Ils dansent desormais tous les trois
18. Jeux (version for piano): Une balle de tennis tombe a leurs pieds
19. La boite a joujoux (version for piano): Prelude: Le sommeil de la boite (The Toy-box Asleep)-Tableau 1: Le magasin de jouets (The Toy Shop) -
20. La boite a joujoux (version for piano): Tableau 2: Le champ de bataille (The Field of Battle) -
21. La boite a joujoux (version for piano): Tableau 3: La bergerie a vendre (The Sheepfold for Sale)
22. La boite a joujoux (version for piano): Tableau 4: Apres fortune faite-Epilogue
Jean-Efflam Bavouzet reaches the climax of his multi award-winning complete works for piano, with an album of solo piano transcriptions of three ballets from the same period.
Sir Charles Stanford subjected all music to what he called a ‘piano test’: if it didn’t stand up to being played on the piano, then it wasn’t to be taken seriously. In the case of Debussy, all the French composer’s scores went through a notational stage which, if not specifically designed for piano, could be given a reasonably accurate performance on that instrument. Where ballets were concerned, obviously the choreographer had to rehearse the dancers to the accompaniment of a piano score that conformed to the rhythms and structure of the final orchestral product. The three piano versions recorded here were therefore intimately related to both the compositional and production processes.
Khamma stems from a commission in 1910 for an Egyptian ballet, originally entitled Isis. The project was troubled from the start when Debussy refused to reduce the orchestra from 90 to 40 players. He never heard the work, which was first given its concert performance in 1924. Bavouzet writes, ‘I discovered almost by chance in a Parisian music store, a version for piano of Khamma. This had previously escaped me so what was my surprise when I saw the richness and originality! The virtuosity required is much more subtle than the more obvious. It must give the illusion of more perfect sound levels corresponding to each specific instruments group.’ In the midst of the negotiations over Khamma, Debussy wrote his second ballet, Jeux. Jeux is a highly complex and incomprehensible piece for two hands. Bavouzet notes, ‘In several places what Debussy wrote in the reduction for solo piano is really unplayable. The text is so thin and poor that a small part of the richness of the orchestral version is realised. It was indeed this frustration that prompted me to write some years ago, a version for two pianos today published by Durand. But for this disc I had to make a version for two hands to do justice to the score. I can say that this is probably one of the most difficult works that I have played.’ Two months after the Jeux premiere, Debussy began work on his last ballet, La boîte à joujoux, based on an illustrated children’s story. Debussy embraced the plot, busy ‘extracting secrets from [his daughter] Chouchou’s old dolls and learning to play the side drum’. Within a month the first tableau was done, and he claimed he had ‘tried to be straightforward and even “amusing”, without pretentiousness or pointless acrobatics.’ The following month the piano score was complete.
“The work’s prismatic inventiveness and its way of seeming at once discontinuous and a breathless sweep do not need instrumental colour to be forcefully registered, as Bavouzet demonstrates. His accounts of all three pieces are graphic and meticulous.” (The Sunday Times)
---------
01. Khamma (version for piano): Prelude
02. Khamma (version for piano): Scene 1: Le Temple interieur du Grand-Dieu Amun-Ra
03. Khamma (version for piano): Scene 2: La grande porte s'ouvre et une legere forme voilee est
04. Khamma (version for piano): Premiere Danse
05. Khamma (version for piano): Deuxieme Danse
06. Khamma (version for piano): Troisieme Danse
07. Khamma (version for piano): Au Movement-Soudain
08. Khamma (version for piano): Scene 3: C'est l'aube froide et grise du matin qui lentement devient rose
09. Jeux (version for piano): Prelude
10. Jeux (version for piano): Du fond, a gauche, apparaissent deux jeunes filles craintives et curieuses
11. Jeux (version for piano): Une des deux jeunes filles danse seule
12. Jeux (version for piano): On apercoit le jeune homme au fond, a gauche, qui semble se cacher
13. Jeux (version for piano): Ils dansent ensemble
14. Jeux (version for piano): Le jeune homme a suivi cette derniere danse par curiosite d'abord
15. Jeux (version for piano): Dans l'emportement de leur danse, ils n'ont pas remarque l'attitude d'abord inquiete
16. Jeux (version for piano): Pourtant, le jeune homme intervient en ecartant leurs tetes doucement
17. Jeux (version for piano): Ils dansent desormais tous les trois
18. Jeux (version for piano): Une balle de tennis tombe a leurs pieds
19. La boite a joujoux (version for piano): Prelude: Le sommeil de la boite (The Toy-box Asleep)-Tableau 1: Le magasin de jouets (The Toy Shop) -
20. La boite a joujoux (version for piano): Tableau 2: Le champ de bataille (The Field of Battle) -
21. La boite a joujoux (version for piano): Tableau 3: La bergerie a vendre (The Sheepfold for Sale)
22. La boite a joujoux (version for piano): Tableau 4: Apres fortune faite-Epilogue
Jean-Efflam Bavouzet reaches the climax of his multi award-winning complete works for piano, with an album of solo piano transcriptions of three ballets from the same period.
Sir Charles Stanford subjected all music to what he called a ‘piano test’: if it didn’t stand up to being played on the piano, then it wasn’t to be taken seriously. In the case of Debussy, all the French composer’s scores went through a notational stage which, if not specifically designed for piano, could be given a reasonably accurate performance on that instrument. Where ballets were concerned, obviously the choreographer had to rehearse the dancers to the accompaniment of a piano score that conformed to the rhythms and structure of the final orchestral product. The three piano versions recorded here were therefore intimately related to both the compositional and production processes.
Khamma stems from a commission in 1910 for an Egyptian ballet, originally entitled Isis. The project was troubled from the start when Debussy refused to reduce the orchestra from 90 to 40 players. He never heard the work, which was first given its concert performance in 1924. Bavouzet writes, ‘I discovered almost by chance in a Parisian music store, a version for piano of Khamma. This had previously escaped me so what was my surprise when I saw the richness and originality! The virtuosity required is much more subtle than the more obvious. It must give the illusion of more perfect sound levels corresponding to each specific instruments group.’ In the midst of the negotiations over Khamma, Debussy wrote his second ballet, Jeux. Jeux is a highly complex and incomprehensible piece for two hands. Bavouzet notes, ‘In several places what Debussy wrote in the reduction for solo piano is really unplayable. The text is so thin and poor that a small part of the richness of the orchestral version is realised. It was indeed this frustration that prompted me to write some years ago, a version for two pianos today published by Durand. But for this disc I had to make a version for two hands to do justice to the score. I can say that this is probably one of the most difficult works that I have played.’ Two months after the Jeux premiere, Debussy began work on his last ballet, La boîte à joujoux, based on an illustrated children’s story. Debussy embraced the plot, busy ‘extracting secrets from [his daughter] Chouchou’s old dolls and learning to play the side drum’. Within a month the first tableau was done, and he claimed he had ‘tried to be straightforward and even “amusing”, without pretentiousness or pointless acrobatics.’ The following month the piano score was complete.
“The work’s prismatic inventiveness and its way of seeming at once discontinuous and a breathless sweep do not need instrumental colour to be forcefully registered, as Bavouzet demonstrates. His accounts of all three pieces are graphic and meticulous.” (The Sunday Times)
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