On the latter note, it’s easy to see why Debussy’s sound has so often been misconstrued as “impressionistic,” when in fact it was more closely aligned to the assured stroke of a pen than to the fleeting contact of a paintbrush. Whether by the descriptive titles famously appended to the ends individual pieces or by the fact that Debussy never intended for them to be played as a unified set, one can see that the Préludes were built as agents of a creative mind for whom fragments were worlds unto themselves. For while their collective title conjures the well-tempered catalogs of composers as divergent as Bach, Chopin, and Shostakovich, in practice they bear little resemblance to those 24-part pantheons of keyboard literature. Though unconventional in form, the two books of piano music known as Claude Debussy’s Préludes have withstood the test of time by means of their structural integrity and ordering-or, in the latter case, their lack thereof. Recorded April 2011, Sint-Pieterskerk, Leut, Belgium
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