Unlike Frederic Chopin who within his own set of Preludes was determined to depict a wide range of emotional states, or the Preludes of Alexander Scriabin in which the composer explored new harmonic pathways, I've always had the impression (pun intended) that Claude Debussy (1862-1918) was more interested in capturing all of the colours and sonorities, through musical processes of course, that the modern piano had to offer. Not surprising when you consider his use of titles like Le Vent dans la Plaine, Brouillards, La terrasse des audiences du clair de lune, Feuilles mortes, and especially La Cathédrale engloutie. All of these expose various timbral textures through mysterious harmonic combinations and/or substantial use of the sustain pedal.

And that's precisely what Franco-American pianist George Lepauw captures and projects so well in this belated release of his debut recording dating all the way back to 2007. Click on his name above to visit his website and find out how life got in the way and prevented this fifteen year old recording from seeing the light of day until now. There's a deliberate patience to his playing that allows each chord, each note, to resonate fully. Even in the more fluid or rapid pieces like Les Fées sont d'exquises danseuses or Feux d'artifice he allows notes to overlap freely which heightens the hazy sense of an image from a distant memory. Like Debussy intended, impressions rather than vivid experiences.