This first-rate collection has no weak links at all: Karajan’s La Mer, Tilson Thomas’ Boston Symphony recording of Prelude to the Afternoon of a Faun, Richter’s Estampes, the Britten/Rostropovich Cello Sonata, and of course Michelangeli’s Preludes, Book 1 all stand at the top of their respective heaps as reference editions of the pieces in question. Joining this elite company, Abbado’s Nocturnes offer a Boston Symphony in top form allied to gorgeously atmospheric recording. Sirènes, the third movement, sounds especially evocative, with the wordless female chorus beautifully balanced to give exactly the magical effect Debussy had in mind. Compare this marvelous version to such recent horrors as Maazel’s latest attack on this piece for BMG, with what sounds like the Heidelberg Hefty Hausfrau Choir lustily crooning away, and you’ll wonder why it was ever allowed to disappear from the catalog in the first place. Finally, the Melos Quartet plays Debussy’s sole work in the genre vividly and with spirit, while BSO principal flutist Doriot Anthony Dwyer does Syrinx as well as it ever has been. Super.
