Estampes (Debussy, Claude) - A. Weissenberg

[@shin-i-chikozima]

His wonderful performance Ìs my splendid tranqulizer

[@shin-i-chikozima]

What a versatile and unconventional performance he plays❗

[@ムーンウォーク]

誰が何を言おうと、ワイセンベルクの感性、音楽性、解釈、ピアノの美しい音色すべてが大好きです✨ 毎日、ユーチューブやワイセンベルクarchivesを楽しんでいます。 ワイセンベルクさん、素晴らしいコンサートありがとうございました!

[@shin-i-chikozima]

Estampes he plays with exquisite skill is captivating, and intriguing, and exhilarating and prodigious, and off the charts My heart is resting and peace and soothed and comforted

[@jatiel39]

I. Pagodes 00:00 II. La soirée dans Grenade 04:29 III. Jardine sous la pluie 09:02

[@rickartdefoix1298]

It has taken years, maybe decades, to finally accept Weissenberg's Debussy. It is quite a delightful account. Unfairly critised, when it appeared, as a "brutal account". But it is well known that the Penguin Records Guide always loathed him, so, they were partis pris against everything Weissenberg did. Not the proper ones to judge him, therefore. Their point of view was too conservative, much better to follow Sigi through the Gramophone Guide, if we had to submit to critics outlook. What being it only as a connaisseur, I do not. At least no more than a reference, or good to do a discovery recording, now and then. And this only in the case of the Gramophon criteria. But they are never a bible, that's for sure. Nowadays, fortunately, his Debussy has been accepted as the musically fresh air it really represents. His Pagodes is exquisitely played, and his Snowflakes as other pieces, reveal all the delicacy and sophistication this artist always kept in his performances. I accept his rythm may be a bit increased in some parts of these works, but the whole remains an excellent interpretation, not "brutal" at all. Somehow, Weissenberg was a "product" of the prestigious Julliard School, not of the Russian School. Nothing to see with a Gilles or Richter or even a Magaloff, much more alike between themselves. Sigi was a Westerner singularity, same as Glenn Gould was. Both prodigy childs and both very different to any other. Heterodoxes both, as well. Scheme breakers. Though their similarities end here. In Gould's case he was a result of the Toronto Royal Conservatory teachings, could be said. Of course we may like more a pianist in parts of his catalogue and less in others. But this happens with every musician. The Weissenberg Debussy has to be far from being discarded. He may not be as impressionist as others, in the sense of not so contemplative, in these works, but it remains poetic and indeed, a very interesting account. He had a deep architecture, a deep study into everything he played. This makes always interesting ways of approaching what he performs. His wide dynamics range, his perfect digitalization and that characteristic rich sound of his piano.. His famous tone intensity works here to create an elegant rendition, distinctively far from any other, this is truth. Still truth too that Weissenberg was quite a controversial pianist, loved by millions and questioned by others: but what great pianist has not been "controversial"? Argerich has been criticised for being too quick at times, Richter for being boring, not a creative pianist, too faithful to the score and irregular often... not to speak of Gould, whose Mozart e.g., is never quoted as a good enough one, for being more a caprice than anything else... so much did he changed the original tempos and so, "the way" to play his so much "baroque" Mozart. Well, this is not the case with the Weissenberg Debussy. You will recognise perfectly his charming "Jardins Sous la Pluie" and has no doubt, love it. As his "L'île Joyeuse" or any other. Really, never understood well the real reason behind the Penguin Guide critics. We must consider that if Weissenberg was deemed a piano genius by people the size of Szell, Serkin, Ormandy or Horowitz himself, who is the Penguin Guide or no one else to think differently? Really, for me, it is daring to say one does not like Sigi's Chopin Nocturnes, for instance. For it would imply not to like piano music. His Chopin Nocturnes have no rival, "darker and stronger" as they are. A bit of the same applies to this very interesting Debussy recording. It is a pleasure to hear. Luckily, Weissenberg had a Platinum recording seller as well as several Gold ones, what means millions of people thought the same about him, than did Ormandy, Serkin, Szell or Horowitz. The also heterodox, very prolific, Bruckner specialised in, cool Orchestra Director Celibidache admired and liked Sigi too. He is even recorded with, in the Mozart 27 Concerto (Just a joke: two quirky ones together? And Where can be found this 1967 masterwork rarity? Why is it not included in any Sigi compilation?) and the Prokofiev 3rd. in 62, both with the RAI Orchestra. Clearly, Weissenberg stands as a piano legend, a piano genius. 💖💎👌