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| very distinctive Debussy! |
| The word that most readily comes to mind for me to describe these performances (in full bodied early stereo sound) is passionate. No detachment or distancing a la Boulez but instead, a very overt engagement with both the sensual aspects of the music, as in his performance of the Prelude to the Afternoon of a Faune, the Three Nocturnes and the slow movement of Iberia, and the fiery ones, as in the first and third movements of Iberia. Only Munch's Debussy has the same degree of overt emotionality, though with a more Berlioz like nervous intensity instead of the molten sensual flow of Stokowski. A definite recommendation for both Stokowski and Debussy lovers. |
| Sublime Stokie! |
| When it comes to creating orchestral magic, there really was no else like Leopold Stokowski. With an orchestral master like Debussy, this is a match made in heaven. These old Capitol recordings from the late 1950s are a pure delight. Julius Baker's flute on "Prelude" is in a class by itself, and although I prefer Boulez's recent DG recording of "Nocturnes", Stokowski's performance is wonderful just the same with otherworldly BBC Women's Chorus singing in the third movement. The recording, naturally for Stokowski, is in excellent 1950s stereo and not a hiss is to be found. Stokowski's transcription of "Clair de Lune" is not too gooey, and "Iberia" has plenty of Spanish sizzle. Debussy fans might have their more favorite conductors, but Stokowski shows once again there were few pieces of music (Mahler, for example) he couldn't make his own. Anyone interested in Debussy and/or Stokowski should not hesitate. |
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