French pianist Alain Planès already recorded Debussy’s complete Préludes in the mid-1980s for the now-defunct Harmonic Records label. It was a scrupulous reading, slightly under-characterized and somewhat betrayed by foggy sound. Planès’ new recording displays overall faster tempos and fits on one CD instead of two. Even more significant is the use of a wonderful Bechstein grand from 1897. Added to faithful and natural sonics, this is enough to make this newcomer a winner. In the last 15 years, the pianist has deepened his vision of this collection of masterpieces. The playing is more melody-oriented, less purely vertical than in the previous attempt, and every phrase is thoughtfully shaped and detailed, partly thanks to the Bechstein’s clarity of timbre and fluidity of mechanics. Although Planès doesn’t always “move” as much as we might hope, he manages to build up very effective climaxes, as in La Cathédrale engloutie, while his atmospheric playing displays a good deal of magic in Des pas sur la neige, La puerta del vino, La terrasse des audiences du clair de lune, and Canope. Nevertheless, something–call it fire or energy–is missing in his intensely reflexive interpretations. Though he can’t compete with Pollini’s recent recording of Book I in terms of sheer stamina, Planès offers a subtler tonal palette, as well as additional elegance and humor. In some ways, his approach may be considered more conventional than that of his illustrious colleague, but it’s also more directly rewarding to the listener.
