John Smyth replies to Don Satz:

>>Even in my musical studies and training as a youngster, I learned that
>>every master' of musical composition >was unique and that a performer's
>>highest artistic level was to reach the core of the composer's
>soundworld.
>
>Here is where I give pause.  Do you understand his soundworld? Are you
>familiar with eyewitness accounts, Debussy's own words, his literary
>interests, (Debussy liked Poe--quite a maudlin, sweat-on-red-velvet kinda
>guy to be hanging around with your anti-sybaritic Debussy!) Eyewitnesses
>speak of Debussy playing the piano as if it had no hammers.  Musicologists
>tell us that Estampes is a turning point in Debussy's style because of its
>emphasis on *sonority* over form.

I've said this before.  But the Pierian label has a CD of Debussy
playing his own stuff (Welte-Mignon rolls).  I know the technology has
been criticized, but the label has been quite fortunate in having probably
the most knowledgeable living technician involved in the transfers.  To
keep things honest, the CD also includes acoustic recordings of Debussy
accompanying Mary Garden in excerpts from Pelleas and from the Ariettes
oubliees.  Debussy's playing I find a revelation.  It's so inward, it's
as if his mind is conversing with itself.  I can't rave about it enough.
And talk about over-pedal!

The number is Pierian 0001.

Pierian Recording Society
P.O. Box 90476
Austin, TX 78709
Fax: 512-264-9696

Esteemed list member Karl Miller is the president of the society.

Steve Schwartz