Bringing Debussy’s Musical Pictures to Life
Saskia Giorgini presents Images, containing some of Claude Debussy’s most colorful piano works. It is Exclusively Available in Stereo DSD 512, DSD 256, DSD 128, DSD 64 at NativeDSD.
Starting with tuneful early works such as the Danse (Tarantelle styrienne) and Deux arabesques, Giorgini gradually works towards later, more ambitious pieces such as the Estampes and the two sets of Images, from which the album derives its name.
Debussy’s music has always held an enormous attraction to Giorgini, and this album is the result of a years-long search to bring these mesmerising musical pictures to life. With her solo Liszt recordings, Giorgini has demonstrated a masterful touché and unique sense of colour, which makes Debussy’s music an obvious next step.
Saskia Giorgini, Piano
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:22:51
Additional information
| Label | |
|---|---|
| SKU | PTC5187206 |
| Qualities | DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz |
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| Executive Producer | Kasper van Kooten |
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| Original Recording Format | |
| Recording & Balancing Engineer, Editing | Jens Jamin |
| Release Date | June 21, 2024 |
Press reviews
The Classic Review
Back in 2020, I reviewed Saskia Giorgini’s live recording with Ian Bostridge of Schubert’s Die Schöne Müllerin. Having enjoyed the collaborative effort and interpretative elements of the performance, I looked forward to hearing how they would translate in a solo capacity. This new album features a curation of Debussy’s finest (and most well-known) piano works.
Pentatone’s sound engineers excel in bringing out the intricacies of the Bösendorfer piano Giorgini plays, as well as the instrument’s lovely temperament. In her own foreword,
An enjoyable listen all around.
Gramophone
Saskia Giorgini, of Dutch and Italian heritage, has just released her first album of Debussy which, in terms of secure yet unobtrusive technique and richly realized imagination, stands proudly beside her magnificent Liszt recordings.
To hear Giorgini play the two books of Images is to hear distilled, in purely musical terms, the palette and brushwork of Monet and Renoir. From ‘Hommage à Rameau’, imbued with near-tragic longing, to the exquisite rhythmic grasp and polyphonic resourcefulness of ‘Mouvement’, you may find yourself, as I did, struggling to imagine when you might have heard it better.
The intelligence and sensual pacing of L’isle joyeuse is better experienced than described. In all these works, Giorgini’s ability to choose the inevitably apt tempo is uncanny. That attribute of any pianist worthy of the name, namely a plenitude of calculable levels of sound at the quiet end of the dynamic spectrum, finds in her a happy home. From a pianist who is not yet 40, one can only imagine the musical joys that lie ahead.
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