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Higuchi Kimiko, Oka Yohei Waki - Debussy: (Piano Duo)la Mer, Nocturnes, Prelude A L'apres-midi D'un Faune - Japan CD

Higuchi Kimiko, Oka Yohei Waki - Debussy: (Piano Duo)la Mer, Nocturnes, Prelude A L'apres-midi D'un Faune - Japan CD

CD

Classical Music

November 28, 2018

Regular price ¥3,080 JPY
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Catalog No.: MF25704

JAN/ISBN: 4580107740888

Number of Discs: 1

Country/Region of Manufacture: Japan

Credits:

Higuchi Kimiko, Oka Yohei Waki

Description:

Commemorating the 100th Anniversary of Debussy’s Death! Kimiko Higuchi’s fourth CD is a recording commemorating the 100th anniversary of Debussy’s death. Recorded in collaboration with Yohei Wakioka, it features three orchestral works arranged for two pianos. A closer look at the catalog of works by Claude Achille Debussy (1862–1918) reveals the intriguing existence of arrangements and compositions for two pianos. In 1889, he arranged Wagner’s *The Flying Dutchman* Overture, followed the next year, in 1890, by an arrangement of Saint-Saëns’ Symphony No. 2 in A minor; in 1895, he also arranged his own *Prelude to the Afternoon of a Faun* for two pianos. Since opera dominated musical life in France at the time, full-scale performances of orchestral works were rare, and in the salons frequented by musicians, works were often enjoyed in arrangements for two pianos. Debussy even joined the “National Music Society” in 1889 and participated as a pianist in a performance of Wagner’s *The Valkyrie* for two pianos. These arrangements were also important in that they provided young composers with some income. *In Black and White* for two pianos, composed in 1915 during World War I, can also be interpreted as a wry comment on the situation—where orchestras were unavailable because so many musicians had been called to the front—using the phrase “white and black keys.” Now that Debussy’s orchestral works have become firmly established in the orchestral repertoire, what is the significance of listening to these arrangements for two pianos? It lies in the pure beauty of Debussy’s unique musical structure, which emerges with unyielding clarity even when stripped of the overflowing, diverse colors of his orchestration. Behind the subtle resonances and shifting rhythms lies his characteristic sense of clear form. We are now able to witness more clearly his astonishing insight and skill as a composer. Needless to say, this is made possible by the extraordinary musical abilities of the two pianists. From the liner notes by Ryuichi Higuchi (1/3) Universal Music/IMS

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