Mathilde Handelsman: Debussy: Images
Sheva Collection

As she played Debussy's “Reflets dans l'eau,” “Jardins sous la pluie,” “Masques,” “D'un cahier d'esquisses,” and “L'isle joyeuse,” pianist Mathilde Handelsman began to sense an underlying connection between the material, all of it written by the French composer between 1903 and 1907. Subsequent research saw impression become understanding: prior to Estampes, Debussy had been inclined to use straightforward titles such as “Valse” and “Nocturne”; the 1903 publication of Estampes, on the other hand, brought with it a newfound poetic and descriptive character for his works' titles, and consequently those used for pieces in the second book of Images, specifically “Cloches à travers les feuilles” (Bells through the leaves) and “Et la lune descend sur le temple qui fut” (And the moon descends on the temple that was), bolster the evocative capacity of the music with which they're partnered.

Another possible explanation for the music's expansive character and embrace of a more abstract style might be traced to visits by the composer to two Exposition Universelles in 1899 and 1900 that reportedly left a huge and lasting impact. In being exposed to music from around the globe, including Javanese gamelan and flamenco, he couldn't help but be influenced by what he heard and saw, and it's possible to glean evidence of that exposure from the writing that followed (whereas an Asian influence can be detected in Estampes' “Pagodes,” for instance, Spanish tinges emerge in the dance rhythms of “La soirée dans Grenade”). Of course Debussy's music always retains his indelible signature, yet such influences couldn't help but expand upon and enrich his composing.

On her debut recording, Handelsman gives authoritative performances of all of the works he wrote for piano between 1903 and 1907. She brings superb technical ability to the project, of course, but as critically her interpretations show a deep sensitivity to the essence of Debussy's soundworld. There's gracefulness in her playing yet aggressiveness too where it should be. Born in Paris in 1990, the French-American pianist has performed in Europe and the United States as a soloist, chamber musician, and orchestral pianist and has also published two volumes of poetry and delivered lectures about Debussy at international conferences.

From the first book of Images, “Reflets dans l'eau” entrances with Handelsman's poised essaying of patterns that seamlessly transition between restrained and intense. Just as one can be captivated by the flow of water and reflections dancing off its surfaces, so too can one get lost in the delicate motion of the pianist's playing. Readings of “Hommage à Rameau” and “Mouvement” follow, her command of pacing and dynamics flawless in both and her touch exquisite. Here and elsewhere, one marvels at the musicality she brings to the material, whether it be an introspective or rapturous setting. Dazzling moments are plentiful, be it an artful rendering of “Jardins sous la pluie” (Estampes) or virtuosic realization of the percussive “Masques” and ecstatic “L'isle joyeuse.” Signature Debussy touches are present too, from the bell-like chimes that sparkle, cascade, and glitter through “Cloches à travers les feuilles” and the lulling, ruminative quality of “Et la lune descend sur le temple qui fut” (both Images, Book 2).

December 2021