François-Frédéric Guy (piano)
Debussy Préludes, Book 2 (1912-13): Brouillards (1:27-4:25 on the broadcast link below); La puerta del vino (4:31-7:41); Les fées sont d’exquises danseuses (7:46-10:37); La terrasse des audiences du clair de lune (10:42-15:00; Feux d’artifice (15:03-19:07)
Debussy Images, Set 1 (1901-05): Reflets dans l’eau (20:47-25:37)
Tristan Murail Cailloux dans l’eau (2018, UK premiere) (25:40-32:30)
Brahms 4 Piano Pieces, Op.119 (1893) (34:35-48:23)
Wigmore Hall, London
Monday 11 February 2019
To hear the BBC broadcast through BBC Sounds, please follow this link
Commentary and Review by Ben Hogwood
If last year saw a surfeit of Debussy’s music in the composer’s centenary year, it was for a good reason. The composer is rightly revered as one of the leading lights of early 20th century music, and brought with him new approaches to melody and harmony, not to mention sound worlds and textures unlike anything that had been heard before.
His writing for the piano is indispensable and of a consistently high and original quality, whether taking inspiration from older forms or creating new ones. In his Préludes for the piano he builds on an approach perfected by Chopin, who used each key to create 24 such works. Debussy, however, made 24 character pieces, painting portraits either of specific or deliberately vague imagery.
In this lunchtime recital François-Frédéric Guy fully immersed himself in this revolutionary writing, showing a clear affinity with five of the Préludes from the later Book 2. The swirling mists of Brouillards (Mists) (from 1:27 on the broadcast link) are vividly portrayed, with a notable attention to detail on the weighting of the notes. The swagger of the Habanera inhabits La puerta del vino (The wine door) (4:31), with its exotic harmonies matched to a free rhythmic approach.
The parallel chords of Les fées sont d’exquises danseuses (Fairies are exquisite dancers) (7:46) are also beautifully weighted, while La terrasse des audiences du clair de lune (The terrace of moonlit audiences) (10:42) grows from its introduction with a masterful crescendo. Finally Feux d’artifice (Fireworks), 15:03) is captivating, and during it you can practically see sparklers being waved around, thanks to the twinkling figurations in Guy’s right hand.
Reflets dans l’eau, taken from Debussy’s Images Set 1, is another watery wonder (from 20:47), played here with exquisite control from both fingers and feet – the use of the sustain pedal being of great importance in Debussy’s music. The rippling sounds act as the inspiration for Tristan Murail’s tribute to the composer, Cailloux dans l’eau (25:40)
His response begins at a more measured tempo than Debussy’s, savouring the colours for longer and effectively making his water slower moving. Soon, however, the ripplies become much more pronounced and twist upwards to the higher pitches on the piano (c30:00), with frothy trills that gradually subside towards silence. Guy played this with absolute control, fully immersed in Murail’s writing.
To finish, the final works for piano by Brahms. These four pieces were written as the composer reached his 60s, and mark the end of a late creative flowering including a number of chamber works for clarinet and intimate pieces for the piano. Three of Op.119 are classed as Intermezzos, a title essentially giving the composer free rein.
No.1 feels the most free of all, with a soaring right hand line beautifully floated by Guy in this performance. A real song without words, it carries deep emotional impact here. Guy moves straight on to the second piece (38:20), a flowing piece with greater urgency and a sunnier theme in the centre.
Then at 42:27, the short third piece, with repeated notes using the ‘classic’ Brahms triplet rhythms. Guy missed a couple of notes here but gauged the piece just right leading to the heroic Rhapsody (43:51) This piece is a triumphant way to end any concert, but does finish on a darker note. Until then, Brahms develops the theme, moving by 46:30 to a mood that recalls the previous Intermezzo. Then the main tune returns with great force (47:37), and just as it looks like a sunny ending Brahms plunges us into the minor key, signing off with great fire and brimstone.
To calm the waters after this, Guy returned to Debussy, and the first book of Préludes – with the most famous excerpt of all, Clair de lune (49:52-53:55).
François-Frédéric Guy has not yet recorded any of the music heard in this concert – however the below Spotify playlist includes some leading versions of the repertoire heard:
Unfortunately the Tristan Murail is not available anywhere yet; however his complete piano music up until 2013 can be heard here in recordings made by Marilyn Nonken:
For more Debussy, Mitsuko Uchida’s album of the Études, another extension of a form pioneered by Chopin, can be heard here in an award-laden disc:
Late Brahms is one of the pinnacles of the Romantic piano repertoire, and few recorded it with the authority of Steven Kovacevich, heard here in a wonderful album for Philips: