The process of recording has an almost grueling intensity which adds another dimension to a performer’s search for the music’s essence. The notion of music being “frozen architecture” becomes even more meaningful when we deal with recorded music. We try, perhaps in vain, to capture the ineffable. Isn’t that what great music does? Debussy takes an ordinary moment, a “cell” of life, as in a hint at the Marseillaise in the final Prelude, and imbues it with a sense of eternity and otherworldly significance. Debussy himself is “recording” human experience, revealing veiled messages ranging from bemused comedy to
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