Daniel Ericourt plays Debussy "Pour le piano", No. 3 - Toccata

rec. 1962

Pianist Daniel Ericourt (1903-88) boasted an impressive artistic resume, including working relationships with Isadora Duncan, Nadia Boulanger, Aaron Copland (Ericourt premiered his Passacaglia), and Georges Enescu. In his teens Ericourt got to know Claude Debussy and his family, collaborated with the composer in a benefit concert, and turned pages at the premiere of his Cello Sonata. Following decades of international touring, Ericourt joined the Peabody Conservatory faculty and later became Artist-in Residence at the University of North Carolina at Greensboro. In the early 1960s Ericourt recorded the complete cycle of Debussy's solo piano works for the Kapp label, and despite generally excellent reviews they shortly disappeared from the catalog. The collection now appears on CD for the first time--and merits serious consideration.

Perhaps the easiest way to describe Ericourt's superb, insightful pianism is that he synthesizes the best qualities of his generation's two premier Debussy players, fusing Walter Gieseking's tonal refinement with Robert Casadesus' highly articulated fingerwork. More often than not, Ericourt's rhythmic exactitude, wide dynamic range, and textural differentiation give clarity and shape to passages other pianists habitually blur (such as ostinatos, trills, and arpeggios). The Images are particular cases in point; ditto the more "ethereal" Book 1 and 2 Preludes such as Le vent dans la plaine, Des pas sur la neige, Canope, and Bruyères.


Like Gieseking, Ericourt seemingly has his ears as well as his feet affixed to the sustain pedal, yet he also achieves striking tonal effects without it, as you hear throughout The Children's Corner Suite and the Estampes. The Etudes also boast remarkable virility and character, and the shorter works are anything but tossed off. A strident, slightly metallic patina dates the sonics (I wager that the original source material is marred by wear and tear), yet Ericourt's artistry comes through with sufficient color. Kudos to Ivory Classics and the University of North Carolina for making these highly distinctive recordings available again.

--Jed Distler, ClassicsToday.com

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