Claude Debussy - Complete Works for Orchestra

Claude DEBUSSY (1862-1918)

Complete  Works for Orchestra

Disc 1

La Mer

Nocturnes

Printemps

Prelude a l'apres-midi d'un faune

Disc 2

Images

Jeux

Khamma

Disc 3 

La Boite a joujoux

Children's Corner

Petite Suite

Marche ecossaise

Danse

Disc 4

Fantasie

Premier rapsodie

Danses

Rapsodie for alto saxophone and orchestra

Sarabande

L'Isle Joyeuse

La plus que lente

Claire de lune

The Renaissance Singers

Grosvenor High School Choir (female voices)

Ronnie Lee, chorus master

Colin Fleming, flute solo

Rachel Ingleton, oboe d'amore solo

Michael McGuffin, piano

Louis Martin, harp

Christopher Blake, oboe

Colin Stark, cor anglais

Anne Queffélec, piano

Christopher King, clarinet

Rachel Masters, harp

Gerard McChrystal, saxophone

Derek Bell, cimbalom solo

Ulster Orchestra

Yan Pascal Tortelier, conductor

Recorded in Ulster Hall, Belfast

30 & 31 October 1988 (La boîte à joujoux): 19 & 20 February 1989 (Children's Corner, Petite suite), 1 & 2 October 1989 (Prélude, Nocturnes), 5-8 December 1989 (Images): 29 & 30 May 1990 (Jeux, Khamma),

16 August 1990 (Danses, Première rapsodie): 19 & 20 February 1991 (La Mer, L'Isle joyeuse, La plus que lente), 28 & 29 May 1991 (Fantaisie, La Clair de lune):

3 & 4 June 1992 (Printemps, Marche écossaise, Danse, Rapsodie for saxophone, Sarabande)

This set of Debussy’s orchestral works is, along with a similar set of Ravel’s orchestral works, one of the most enduring products of Yan Pascal Tortelier’s partnership with the Ulster Orchestra. The four generously filled discs contain performances that are full of colour and warmth and display a refreshing rhythmic zest. However, it should be noted at the outset that Tortelier faces very strong competition in the principal works from the Royal Concertgebouw under Bernard Haitink (Philips). Indeed, its performances of La mer, Jeux, the Nocturnes, Images and Prélude à l’après-midi d’un faune would individually rival all comers. Presented together on two discs they are unsurpassed. Nevertheless, it is in the less well-known works that ‘complete’ sets earn their stars and, in addition to better than average performances of the major works, Tortelier gives us alluring accounts of the Fantaisie for piano and the two Fantaisies for clarinet and saxophone respectively. There are also the works orchestrated by Debussy’s colleagues, usually at the composer’s request, or at least with his blessing. 

Christopher Dingle