The French pianist Jean-Yves Thibaudet is passionate about Debussy and has been performing the Preludes for Piano all over the world for the last few years. He brought his artistry to Rockport Music yesterday afternoon before a full house of admirers. Resplendent in all black, studded with sparkling red sequins, including on his shoes, he bounded onto the stage for a program featuring all 24 in one concert. Thibaudet has accomplished something heroic, considering the difficulties involved. The music sounds perfectly logical until one looks at the score, which is as complicated to bring to life as a Scriabin sonata, or a Silvestrov bagatelle.
Debussy’s 24 preludes, 12 in each collection, do not pay homage to J S Bach’s preludes and fugues, or to Chopin’s preludes in all major and minor keys. They are the work of the composer’s unique imaginative style; un-centered on specific tonalities, they are often given the sobriquet ‘Impressionism’ also used to describe the movement in art..
I submit this review as a series of impressions of Saturday’s concert.
Book I (1909-1910).
Danseuses de Delphes: minimal pedal, rich arm weight with no loss of the long line
Voiles could have used a broader color spectrum, not enough murkiness.
Le vent dans la plaine: livelier, not ‘biting’ enough, a limited sound palette
Les collines d’Anacapri could have used additional pedal. D.’s pedal clarifies, enhances and suggests sound. Thibaudet seemd less willing to experiment.
In Des pas sur la neige, the pianist finally came alive, giving the music charm and interest.
Ce qu’a vu le vent d’Ouest, as the tempo marking indicated—animated and noisy, the pianist displaying impressive technical strength
La fille aux cheveux de lin, a perennial teen favorite, provided the needed calm after the storm in a calm, clear interpretation.
La sérénade interrompue, always a delightful musical event, could have been mellower, more humorous, even more flirtatious.
Then came our almost-centerpiece, the Cathédrale engloutie, with the chiming of bells, in parallel 4ths, 5ths and octaves (for which Debussy was severely chided, as this was a forbidden sequence in composition). It remains a glorious prelude, beautifully done here, with a smooth arm-weighted long-line legato.
The antidote to the rich chorale is the perfect trickster, Puck, who doesn’t give a hoot about cathedrals. Capricious interpretation, of course.
The 12th prelude, Minstrels, acknowledging D.’s love of African-American popular music of the time, brings Book 1 to a rollicking close.
Minstrels, also reminiscent of the well-known ‘Golliwogg’s Cake Walk’ from the Children’s Corner Suite (1908), was written about the same time and drew inspiration from the same source.
At this intermission point, it is worth thinking about D.’s use of visual imagery. Curiously, in the score, the titles appear at the end, not the beginning of each prelude. Apparently he wanted players to consider them as “gentle poetic afterwords rather than a strict programmatic roadmap.”
Onward to Book II
Thibaudet did not change costume after intermission, though his flamboyance might have led one to expected him to do so; the program cited that ‘his concert wardrobe is designed by Dame Vivienne Westwood.’
The Preludes:
Brouillards: nice pianism imitating fog; the pianist seems to have warmed up a bit; color palette improved, minimal pedal, technically fine, more adventuresome than Bk. 1
Feuilles mortes: no overuse of pedal, sound spectrum similar to Brouilliards, could have used more differentiation.
La Puerta del Vino: Strong Spanish influence was not convincingly conveyed. Nice use of forte, however, never harsh
Les Fées sont d’exquises danseuses: delicately performed but lacked the necessary sense of ‘magic;’ Thibaudet, however, always maintained a clear command of the notes, with very careful use of pedal. Over-pedalling, a common error in D, is not a problem for this performer.
General Lavine – eccentric: gusto and the necessary eccentricity.
La terrasse des audiences du clair de lune: nice tonal atmosphere after GL, somewhat short on dramatic vitality.
Ondine: This prelude about a mythical water nymph is perfect for the Shalin Liu Performance Center, whose exquisite setting on water enhances every concert. The music opened onto a rich and varied color spectrum.
Hommage à S. Pickwick Esq. P.P.M.P.C., inspired by the Charles Dickens character, had the necessary humor.
Canope: According to program notes a canope is an Egyptian funerary urn (not a canopy!); performed with a controlled, exquisite color range, piano to pianissimo throughout.
Les tièrces alternées was a technical marvel, preparing the fingers for the next outburst of sound….
Feux d’Artifice: Fireworks and daring acrobatics ending this demanding program.
Of course, a shouting, standing ovation ensued. The pianist responded with Pulcinelle by Villa Lobos (cited as a favorite of Arthur Rubinstein), and Salut d’amour by Elgar. He allowed himself the kind of necessary freedom that would have added spice to Debussy.
Jean-Yves Thibaudet is a stage animal, of course, and the dark suit with sequins is great fun. His performance, though a marvel of musical retention and flawless technique, perhaps also featured too much Gallic restraint. The preludes could have benefited from additional drama, temperament, audacity, and improvisatory excitement. The Preludes are alive and kicking. Make it happen, Monsieur T.
Personally, I learned a lot about “listening” from this review. I love BMint for the wide variety of reviewing angles that it offers us. Every sincere perspective helps to keep our classical music community alive and refreshed! As Bach teaches us when he uses “inversion,” the same phrase can be examined from a multitude of sides.
Comment by Ashley — August 15, 2026 at 7:37 am
This reads like faculty comments after a student’s end-of-term jury audition.
Comment by Meckbesser — August 11, 2026 at 7:30 am