Gilead Mishory presents a fabulous interpretation of this famous work from Claude Debussy. Does a pianist play differently when he is also a composer? Gilead Mishory says yes: since he has been composing, the way he views piano-playing has changed. Composing, above all, is an art of translating what the composer hears internally, translating it into notes so that the result corresponds to what he has imagined. Interpretation - meaning "translation" in the broadest sense -- is the reverse procedure for Mishory: finding the sonic conception in the other person's writing. Each individual Prélude signifies an entire world to Mishory. He regards each one as if it were in a kaleidoscope, scattering its sonic, rhythmic and emotional layers until he even sees "La cathédrale engloutie (The Sunken Cathedral)" standing upside-down before him. He loves Debussy's sharp contrariness and his almost grotesque depiction of the male protagonists, and, at the same time, his warm, soft, discrete musical language in the landscape depictions and the fairy-like women's portraits. Mishory gives the imaginary protagonists in Debussy's cycle a voice: he allows them to speak, to tell their stories. In this way, they themselves become Gilead Mishory's "pianist's voice."