![]() ![]() ![]() ![]() Guiraud, at a time when Debussy was still a very young man, he laid stress already then on the importance of nuances, something in which Ángel Cabrera specialises and which he manages to elicit from the many singers and musicians with whom he works.ĭebussy was never able to hear Ángel Cabrera but I suspect he would very much have liked to. Indeed, when the maestro played, he did not like to leave the lid of the grand piano up and used to shut it. Shortly before his death, Debussy taught Marguerite Long to play a pianissimo which appears on page three of L'Isle Joyeuse (The Happy Island) and which, to his way of thinking, was never sufficiently piano. For instance, there is the fact that he does not pound away at the keyboard, still a defect of many a great pianist who seeks the easy effect, by selling himself to the public then there is his supremely delicate sensitivity and, lastly, there is his ability to produce some incredible piano passages, in obedience to what Claude Achille Debussy (1862-1918) himself sought. I'd say that it was because of these and many other qualities. Why choose Ángel Cabrera to perform this anthology of Debussy? Because he is a pianist of the first order, fêted with international prizes and accolades? Or because of his technique, of such brilliance that it allows him to tackle any and every type of challenge? ![]()
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