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penelopeysm · Feb 20, 2024 · d6db4e4 · d6db4e4
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diff --git a/src/content/post/thibaudet-debussy/debussy_seat.jpg b/src/content/post/thibaudet-debussy/debussy_seat.jpg
diff --git a/src/content/post/thibaudet-debussy/index.md b/src/content/post/thibaudet-debussy/index.md
@@ -0,0 +1,50 @@
+---
+title: "Thibaudet: Debussy Preludes"
+description: "Perhaps slightly spoilt by my seat..."
+publishDate: "2024-01-24"
+tags: ["classical-live", "6"]
+---
+
+## Programme
+
+**19:30, 24 January 2024, Barbican Centre**
+
+Jean-Yves Thibaudet
+
+- Debussy: Préludes, Books I and II
+
+https://www.barbican.org.uk/whats-on/2024/event/jean-yves-thibaudet-debussy-preludes
+
+## My thoughts
+
+Debussy's *Preludes* were the first piece which really made me sit down and compare lots and lots of interpretations to find one I liked the most.
+I've also practised a couple of them, and in particular, I really love *Les collines d'Anacapri* (No. 5 from Book I).
+
+I don't really think I hugely enjoyed this performance, though.
+It's hard to tell how much of this was because of the seat I had, and how much of it was because of the interpretations.
+
+My favourite recording of the *Preludes* is by Paavali Jumppanen.
+(I'm not just saying this because it was recommended by a popular score video channel; I've genuinely listened to a lot of interpretations on Spotify etc.)
+I really enjoy the dreamy, relaxed ambience that it conjures.
+Maybe that's a lazy characterisation of Debussy's music, but honestly, if I wanted loud banging music I'd go listen to Liszt or something.
+
+<iframe width="100%" height="315" src="https://www.youtube.com/embed/UIHpca_rWUc?si=jhURwV3KjsRtwtkb" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
+
+This particular performance felt rather different.
+That's valid, of course: everybody has a different approach to these pieces (my survey of the existing discography revealed as much).
+But I felt at times it was not being held together as much, and it was often startling to hear some rougher articulations or dynamics.
+
+Unfortunately, I was *really* close to the piano:
+
+![View from my seat at the Barbican](./debussy_seat.jpg)
+
+and I think I was getting a very raw sound from the piano.
+In fact it was close enough for me to hear Thibaudet pressing the pedal.
+So, I have a nagging suspicion that a different seat would have given me a slightly more blended sound which I might've preferred.
+
+**6/10**
+
+## Recordings
+
+Jumppanen as mentioned above.
+Though, I'd be really interested if Seong-Jin Cho recorded the *Preludes*.
diff --git a/src/content/post/uchida-beethoven-2023/index.md b/src/content/post/uchida-beethoven-2023/index.md
@@ -47,9 +47,9 @@ Give that Uchida recording a listen, it's really well worth it.
 It'd be one of my desert island recordings for sure.
 Here is the Op. 111:
 
-<iframe width="560" height="315" src="https://www.youtube.com/embed/WGg9cE-ceso?si=_F88BM58F_L-VKjv" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
+<iframe width="100%" height="315" src="https://www.youtube.com/embed/WGg9cE-ceso?si=_F88BM58F_L-VKjv" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
 
 More recently I've been listening to a lot of period-instrument performances.
 My favourite is Penelope Crawford:
 
-<iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?si=lHcYBOlZbTvKQbJT&amp;list=OLAK5uy_mqDZuNNKEKsAj1epv0MOcOrXgTxdxffo4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
+<iframe width="100%" height="315" src="https://www.youtube.com/embed/videoseries?si=lHcYBOlZbTvKQbJT&amp;list=OLAK5uy_mqDZuNNKEKsAj1epv0MOcOrXgTxdxffo4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
diff --git a/src/content/post/wang-rach3-2019/index.md b/src/content/post/wang-rach3-2019/index.md
@@ -27,7 +27,7 @@ I do remember though, that M. and I met at South Kensington tube, grabbed someth
 (And of course I was super excited to see Yuja Wang, whose ascent to stardom is well-documented.)
 The Rachmaninoff has been preserved on YouTube:
 
-<iframe width="560" height="315" src="https://www.youtube.com/embed/gyPHOJ1Bm1Y?si=nhSR2wtL0tFZl-Qf" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
+<iframe width="100%" height="315" src="https://www.youtube.com/embed/gyPHOJ1Bm1Y?si=nhSR2wtL0tFZl-Qf" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
 
 In particular, I remember being enthralled by the rhythmic tension at 8:30 onwards.
 Notice how Wang lengthens notes like those I highlighted below: