Claude Debussy (1862-1918)
Firkušný plays Debussy
Rudolf Firkušný (piano)
Pristine Audio PAKM095 [65]

Rudolf Firkušný (1912-1994) studied with Cortot and Schnabel, and was a protégé of Janáček, of whom he said: “It was not piano but music I studied with him.” In 1939, he fled to Paris and then New York. He became an American citizen.

Firkušný’s extensive discography includes Mozart, Beethoven, Schumann, Brahms, Dvořák, Debussy, Janáček, Mussorgsky, Barber and Martinů. With such breadth of taste and repertoire, he may be regarded as not a specialist in any area: an all-rounder with no distinctive voice or special affinity with composers or periods. This would be a sad mistake. If one is as fine a musician as Firkušný, “all-rounder” can only be a compliment.

From the opening Prélude of Suite Bergamasque, I am struck by the musical intelligence, the unfussy artistry. Clair de lune, played without languor or sentimentality, observes the tempo marking of Andante très espressif. If we take the successive movements of Children’s Corner, we hear delicacy, lucidity, naturalness, subtlety, undemonstrative musicianship, then ruggedness in Golliwog’s Cakewalk.

In the first of the Arabesques, Firkušný plays the opening bars with fluidity and grace. I cannot remember feeling the same “breath of fresh air” quality in other performances. One might wish for a more overwhelming climax in La cathédrale engloutie, but this is a richly satisfying performance.

Firkušný’s keyboard artistry makes one forget technical aspects. One simply appreciates the seemingly effortless and quietly authoritative relationship with the instrument. All performances on this valuable disc are rewarding, all distinguished by that “to live with” quality which invites repeated listening. Why, then, do I feel that Firkušný is generally overlooked?

Obviously, the many pianists of today who might be described as technically dazzling will always attract more excitement seekers. Those who prefer Michelangeli’s steely magnificence cannot be scorned. But, as with any great composer, there is more than one valid approach. Without drawing attention to himself, Firkušný allows us to listen to Debussy in pure, unadorned performances free from mannerism. The Cypriot Martino Tirimo, who has recorded the complete Préludes, comes to mind as another pianist who exudes selfless authority and admirable musicianship.

In my Debussy collection I have – and would not be without – Cortot, Gieseking, Michelangeli, Tirimo, Weissenberg and Jacobs, and a few others less indispensable. Firkušný will belong in the first group.

Pristine Audio have achieved their usual transformation in a fine remastering of recordings from the 1950s. I happily recommend this disc, and feel sure that it will awaken or reawaken many to the outstanding qualities of a great musician.

Philip Borg-Wheeler

Contents
Suite Bergamasque (1890-1891, rev.1905)
Estampes (1903)
Children’s Corner (1906-1908)
Images Book 1 (1901-1905)
Deux arabesques (1890-1891)
Préludes Book 1 (1909-1910): La cathédrale engloutie, Minstrels

Recording data
Tracks 1-13: 10, 11 and 22 May 1956
Tracks 14-18: 23, 24 and 27 January 1958
Studio A, Capitol 46^th Street Studios, New York City, USA Availability: https://www.pristineclassical