Whatever the early-electric scratch, it is hard to get over the marvelous playing, with that elegant, sweeping legato, magical pedal and superb articulation. Gieseking still rules!
Justly, I just found that album you just mentioned, as Canadian pressing D12 (back panel missing), containing Suite Bergamasque, Children's Corner, The Engulfed Cathedral, Reflections in the Water, and Evening in Granada, on 4 12-inch plus 2 10-inch records. Quite a treasure!
I remember that, while living in Salzburg long ago, I saw a doorway sign advertising a piano teacher who specialized in the Gieseking technique. It was only later that I realized why.
Tomtrilobite, agree with your first comment. As for the second, I always wondered if the Debussy recording was played at the right speed. Given the many fast recordings, I would be inclined to agree that Gieseking thought he was being faithful to the composer. Those who slowed it down did a tremendous service to the piece, rendering into one of the most beautiful pieces of music ever written.
For some reason, I don't have too many Gieseking records, but I am definitely going to listen to them more carefully. He did a Debussy compilation album for Columbia in the mid-'30's. I've never heard a pianist who can articulate notes so clearly and yet maintain such a fluid line.
Of course he was quite young and the maximum recording length of the disc may have been a factor. Was he fast in the LP era as well? I have some of his late Debussy I'll have to check.
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Whatever the early-electric scratch, it is hard to get over the marvelous playing, with that elegant, sweeping legato, magical pedal and superb articulation. Gieseking still rules!
Justly, I just found that album you just mentioned, as Canadian pressing D12 (back panel missing), containing Suite Bergamasque, Children's Corner, The Engulfed Cathedral, Reflections in the Water, and Evening in Granada, on 4 12-inch plus 2 10-inch records. Quite a treasure!
Gorgeous! Bravo! TY.
That's what is so great about YT. Exposing people to stuff like this.
Little bit scratchy, but still a wonderful recording! Thanks for posting!
Agreed.
I remember that, while living in Salzburg long ago, I saw a doorway sign advertising a piano teacher who specialized in the Gieseking technique. It was only later that I realized why.
Tomtrilobite, agree with your first comment. As for the second, I always wondered if the Debussy recording was played at the right speed. Given the many fast recordings, I would be inclined to agree that Gieseking thought he was being faithful to the composer. Those who slowed it down did a tremendous service to the piece, rendering into one of the most beautiful pieces of music ever written.
For some reason, I don't have too many Gieseking records, but I am definitely going to listen to them more carefully. He did a Debussy compilation album for Columbia in the mid-'30's. I've never heard a pianist who can articulate notes so clearly and yet maintain such a fluid line.
Of course he was quite young and the maximum recording length of the disc may have been a factor. Was he fast in the LP era as well? I have some of his late Debussy I'll have to check.
piano sound is clear,just scratches on record,good recording though
Is he rushing so as to get it all on one disc? The best that can be said it that it needs be a "...plus que lent."