Well, he plays a great deal of the early Debussy literature here. You know, it kind of goes without saying that if you're going to be a great pianist, that you should at least find enough interest in what you're playing to convey that to anyone happening to listen. That's what Giesking does for French composers that he played. It was almost as though the perfect fit between German precision of technique and the kind of nothing but ear worms that is Debussy manage to meet and the result is pianistic perfection. Each phrase is substantial and intended but perfectly executes the composer's intentions; the impression rather than thing itself, the memory rather than any object from the time or place, a kind of psychological music rather than a romantic music in the traditional senses of fiction and drama. Not all of Debussy deserves to be played as if one is running off to a fire. Just listen to how he plays Clair de Lune. Make it sound as though it is pouring like oil. By the way, for those who have played him, Debussy is one of those composers that actually knew how to play the piano and so his phrasing and everything lays very comfortably under the hands. Usually. I've just decided to ditch my old edition for better because for me, much of this music deserves deeper study. I always knew that Giesking's performances of these were stellar. We'll all try to do it like this if we're anywhere half this good. Enjoy.
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