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GIESEKING plays the Debussy Preludes - PAKM061

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GIESEKING plays the Debussy Preludes - PAKM061-CD
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Quick Overview

Walter Gieseking, piano
Recorded in 1953 and 1954

XR remastering by Andrew Rose at Pristine Audio, April 2013
Cover artwork based on a photograph of Walter Gieseking

Total duration: 69:34
©2012 Pristine Audio.


Gieseking's brilliant Debussy Preludes in superlative XR-remasters

"Only a supremely optimistic or a very vain pianist will attempt to record these Preludes now that Gieseking has"


  • DEBUSSY Preludes, Book 1 [notes / score]
    Recorded 12-16 August 1953, Studio 3, Abbey Road, London
    Issued as Columbia LP 33CX1098

  • DEBUSSY Preludes, Book 2 [notes / score]
    Recorded 9-10 December 1954, Studio 3, Abbey Road, London
    Issued as Columbia LP 33CX1304

    Walter Gieseking piano

FLAC Downloads includes PDF scores of both sets of preludes


REVIEW Preludes Book 1

A definitive version. Tackling them afresh - this is no re-issue - Gieseking brings to the wonderful collection of pieces all the qualities of poetry they require. Debussy, exacting from the piano more and more colour and effect, set his sights high, but every nuance, every shade of balance, and every inflection of tempo are fully realised on this occasion.

The Preludes are for the most part intimate and domestic, and reasonably simple as far as the plain notes are concerned. So Gieseking, very appropriately, plays them in an intimate manner. But now and again there is a flurry, and a surge of activity in the music, and here the domestic pianist is caught out; but not, of course, Gieseking, who uses his abundant technical resources not to exhihit themselves, but to enable his masterly control of the shape of the music to be kept fully operative throughout the occasional whirlwind - in the middle of Voiles, for example, where for a few bars tonality and animation emerge from the shadows of the whole-tone scale; or in La dance de Puck, where the decoration points, without interrupting, the basic rhythm in a masterly way. But in every one of the Preludes there are a dozen lessons for the pianist, and a dozen reasons for the enchantment of the listener, who is also well served by the recording - steady and mellow, it is ideally suited for its purpose. The surfaces of the copy at hand are not "silent"; but that is almost the only direction in which it might be reasonable to seek improvement in this outstanding Issue.

For listeners with an eye to the historical, Cortot's famous playing of this same set of Preludes is available on H.M.V. BLP1006. They were reviewed in their SP form by W.R.A. in February, 1951; but it must be admitted that at the time of their recording Cortot was not at his best, and they are not wholly representative of his playing. A dispassionate listener must certainly choose Gieseking, who gets a better recording, and whose performance is suffused with far greater poetry and backed by a more adequate reserve of technical power than was available on the earlier occasion.

M. M., The Gramophone, January 1954


REVIEW Preludes Book 2

Only a supremely optimistic or a very vain pianist will attempt to record these Preludes now that Gieseking has done so. Neither the playing nor the recording can be faulted; after all, he has for years been the chief exponent of Debussy's piano music outside France, and I very much doubt whether any French pianist could better these performances. Gieseking has both the understanding and the technique for conveying the half-lights and shadowy understatement in these pieces, as also the humour that General Lavine and Samuel Pickwick need. Anyone who already has the first book of Preludes recorded by the same artist in 1954 will automatically buy this set, and I hope many other people will do so too.

R. F., The Gramophone, November 1955


Notes on the recordings:

For many, Walter Gieseking's Debussy is definitive, and perhaps nowhere more so than here, in the Preludes. These recordings, made for EMI LP issues towards the end of the pianist-composer's life, followed recordings for 78s made in the 1930s and for an American Columbia double-LP in 1951. Previous reissues have struggled to recreate the full tone of Gieseking's piano across the exceptionally wide dynamic range Debussy demands, and remastering these recordings requires constant attention to ensure tape hiss levels don't obscure the quietest passages, whilst preventing any damage from heavy-handed application of digital noise reduction.

At times the EMI microphone has also captured the energetic breaths of the performer - these I have not attempted to excise. The use of Capstan pitch stabilisation software has ensured a particularly solid tone which, coupled with 32-bit XR remastering, has helped to give particularly realistic body and glorious life to the sound of the instrument.

Andrew Rose



Walter Gieseking

Biographical notes from Wikipedia


Walter Wilhelm Gieseking (5 November 1895 – 26 October 1956) was a French-born German pianist and composer.



Born in Lyon, France, the son of a German doctor and lepidopterist, Gieseking first started playing the piano at the age of four, but without formal instruction. His family travelled frequently and he was privately schooled.

From 1911 to early 1916, he studied at the Hanover Conservatory. There his mentor was the director Karl Leimer, with whom he later co-authored a piano method. He made his first appearance as a concert pianist in 1915, but was conscripted in 1916 and spent the remainder of World War I as a regimental bandsman. His first London piano recital took place in 1923, establishing an exceptional and lasting reputation.

During World War II Gieseking continued to reside in Germany, while continuing to concertize in Europe. Because he performed in Nazi-occupied countries such as France, he was later accused of having collaborated with the Nazi Party. He was severely criticized for this by pianist Vladimir Horowitz, who, in the book Evenings with Horowitz, calls Gieseking a "supporter of the Nazi". Like many German artists, Gieseking was blacklisted during the initial postwar period. By January 1947, however, he had been cleared by the U.S. military government, enabling him to resume his career although his U.S. tour scheduled for January 1949 was cancelled owing to the protest of a number of organizations such as the Anti-Defamation League and the American Veterans Committee. Although there had been other protests (in Australia and Peru, for example), his 1949 American tour was the only group of concerts actually cancelled due to the outcry. He continued to play in a great many other countries, and in 1953 he finally returned to the United States. His concert in Carnegie Hall was sold out and well received, and he was more popular than ever.

Because of his gifts — he had a natural technique, perfect pitch, and an abnormally acute faculty for memorization — Gieseking was able to master unfamiliar repertoire, however difficult, with relatively little practice. From his early instruction in the Leimer method, he usually studied new pieces away from the piano. It became well-known to the public, for instance, that he often committed new works to memory while traveling by train, ship or plane. Sometimes, according to Harold C. Schonberg's book The Great Pianists (1963), he could even learn an entire concerto by heart in one day.

Gieseking had a very wide repertoire, ranging from various pieces by Bach and the core works by Beethoven through to the concertos of Rachmaninoff (the composer himself was impressed with his interpretation of the Third) and more modern works by the likes of Busoni, Hindemith, Schoenberg and the lesser-known Italian Petrassi. He gave the premiere of Pfitzner's Piano Concerto in 1923. Today, though, he is particularly remembered as one of the greatest interpreters of Wolfgang Amadeus Mozart and the two French impressionist masters Claude Debussy and Maurice Ravel, virtually all of whose solo piano music he recorded on LP for EMI in the early 1950s (the Mozart and Debussy sets have recently been re-released on CD), after recording much of it with even greater youthful vitality for Columbia in the 1930s and 1940s, some of which have also been re-released on CD.

Gieseking's historic 1944 performance of Beethoven's "Emperor" Concerto, in which anti-aircraft fire is audible, is one of the earliest stereo recordings, although his just-as-historic "Emperor" rendition in 1934 for Columbia, with Bruno Walter conducting the Vienna Philharmonic, is not only decidedly superior but one of the greatest concerto recordings ever made. His later 1930s Columbia concerto recordings of Mozart K. 271, Grieg and Beethoven Op. 15 under Hans Rosbaud in Berlin are just as outstanding in their own right, as is his early-1930s Franck Symphonic Variations under Henry Wood in London. His last recording project was the complete cycle of Beethoven's Piano Sonatas. Gieseking suddenly fell ill in London, however, while recording Beethoven's "Pastoral" Sonata in D Piano Sonata No. 15 for HMV. He had completed the first three movements and, the following day, was due to record the rondo finale but died a few days later of postoperative complications. HMV released the unfinished recording, and since then broadcast recordings of Gieseking playing all of Beethoven's Piano Sonatas (with the exception of Op. 54) have been issued. Although some of his readings - particularly the live ones - can at times be erratic and marred by wrong notes, when Gieseking was at his best, especially in studio recording sessions, he was technically superb to the point of virtual flawlessness with immaculate, effortless ease.[1] The subtle shadings of his piano tone, at its finest, seemed extraordinary in so physically large a man.

Running parallel to Gieseking's performing activity was his much lesser known work as a composer. Even in his own lifetime his original creations were hardly known, and he made no attempt to give them publicity although a few of them have recently been recorded on CD.

As Gieseking's father had earned a living as a lepidopterist, Gieseking, too, devoted much time to the collecting of butterflies and moths throughout his life. His private collection can be seen in the Natural History Collection of the Museum Wiesbaden.


Notes from Wikipedia:





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PAKM061 cover

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Cue sheet

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