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Track(s) taken from CDA67898

La plus que lente, L128

composer
1910

Angela Hewitt (piano)
Studio Master FLAC & ALAC downloads available
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Recording details: December 2011
Jesus-Christus-Kirche, Berlin, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: October 2012
Total duration: 4 minutes 51 seconds

Cover artwork: Night (1897) by Henri Fantin-Latour (1836-1904)
Musée d'Orsay, Paris / Giraudon / Bridgeman Art Library, London
 
1
La plus que lente L128  [4'51]

Other recordings available for download

Stephen Hough (piano)
Walter Gieseking (piano)

Reviews

'This is one of the better offerings for Debussy's 150th anniversary … it should come as no surprise that Hewitt is a remarkably fine Debussy pianist. This generously filled disc finds Hewitt utterly persuasive in the three suites at its heart … Hyperion captures the sound marvellously … special mention should be made of Clair de lune: it is quite an achievement for its lyrical beauty to be heard afresh' (BBC Music Magazine)

'This is a Debussy recital that will delight aficionados of the piano as well as those coming to the music for the first time … the playing is most distinguished … the 'Passepied' , with its left-hand staccato phrases, is a perfect example of the Fazioli's velvety touch' (International Record Review)

'An ideal introduction to Debussy … one that can be enjoyed equally by experienced listeners—thanks to the artless touch and precise colours the Canadian pianist brings to each piece' (Financial Times)
If Debussy’s intention that his ‘slower than slow’ waltz, La plus que lente, should be taken as a parody is not clear enough from his tempo direction, Lent (molto rubato con morbidezza), it is surely confirmed by his statement to the effect that it was written to suit the taste of ladies who take tea. Even so, it is impossible to hear its hesitantly syncopated G flat major main theme, its harmonic suspensions, its appassionato outcry in right-hand octaves, even its apparently aimless continuity and its drawn-out ending without detecting, and sharing, an affection for the object of his irony.

from notes by Gerald Larner © 2009

Si l’inclination de tempo—Lent (molto rubato con morbidezza)—n’avait pas suffi à dire l’intention parodique de La plus que lente, Debussy ne laissa pas de la confirmer en déclarant l’avoir écrite «pour les innombrables five o’clock où se rencontrent les belles écouteuses». Mais même ainsi, on ne peut entendre son thème principal en sol bémol majeur timidement syncopé, ses suspensions harmoniques, sa récrimination appassionato en octaves à la main droite, voire sa continuité apparemment sans but et sa conclusion qui traîne en longueur, sans déceler, ni partager, une tendresse pour l’objet de son ironie.

extrait des notes rédigées par Gerald Larner © 2009
Français: Hypérion

Wenn die Tempobezeichnung Lent (molto rubato con morbidezza) von Debussys „mehr als langsamen“ Walzer, La plus que lente, noch Zweifel zulässt, ob es sich hier um eine Parodie handelt, so werden diese doch durch seine Erklärung getilgt, dass das Werk für die schönen Zuhörerinnen entstanden sei, die sich bei unzähligen Fünf-Uhr-Tees träfen. Trotzdem kann man nicht umhin, bei dem zögerlich synkopierten Hauptthema in Ges-Dur, den harmonischen Vorhalten, dem Appassionato der Oktaven in der linken Hand und selbst der scheinbar ziellosen Kontinuität und dem lang gezogenen Schluss eine gewisse Zuneigung zu dem Objekt seiner Ironie zu empfinden.

aus dem Begleittext von Gerald Larner © 2009
Deutsch: Viola Scheffel

Other albums featuring this work

Stephen Hough in recital
CDA67686
Walter Gieseking – The complete Homocord recordings and other rarities
APR6013for the price of 1 — Download only
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