Debussy.docx

Debussy: 

L 9, Danse bohémienne (1880) Primeira peça para piano solo. Características estritamente românticas. Semelhantes a obra de Liszt e Chopin. É possível analisa-la harmonicamente ao contrário das peças de estilo mais tardio do compositor. Debussy's first published work for solo piano, the "Danse bohémienne," of 1880, has little perhaps, in the way of appreciable local flavor or readily discernible nationalistic flair. But nevertheless, its remarkable history more than makes up for any lack of originality, even if not really compensating for the dismissive and callous reception accorded to it by one great composer whose own experiences might have prompted him to think along more charitable lines!

As Frank Dawes writes of the "Danse bohémienne," "there is perhaps a mild gipsiness that may have been picked up from the gipsy singers at the Moscow cabarets that Debussy is reputed to have frequented. In texture the piece has something of the salon style of Tchaikovsky, though very much simplified." This straightforward piece, in B minor and 2/4 time, isn't altogether without a few dashes of polka rhythm, but its only notable point of originality comes in the coda, where a tonic chord over a submediant pedal point highlights the interval of a major seventh, possible slightly Russian in character.

The piece had been written for Tchaikovsky's patroness, Nadezdha von Meck, who met Debussy for the first time on July 10, 1880, and wrote "a young pianist has just arrived from Paris, where he had just graduated at the Conservatoire, with the first prize in the class of M. Marmontel. I engaged him for the summer to give lessons to the children, to accompany singing, and to play four-handed duets with myself. This young man plays extremely well, his technique is brilliant, but he lacks any personal expression. He is too young, says he is twenty, but looks sixteen." Debussy was actually eighteen; on September 8, Mme. von Meck sent the manuscript of Debussy's "Danse bohémienne" to Tchaikovsky, with a note which read "I would like to draw your attention a short work by Debussy the pianist. This young man wants to devote himself entirely to composing; he writes really delightfully."

A month later Tchaikovsky responded; "It's really a very nice thing, though really too short; not one thought is expressed through to the end and the form is extremely messy and devoid of wholeness ... " What might at first observation appear to be an uncharitable rebuttal from an experienced composer jealous to preserve his own patronage turns out to be a thoroughly objective if pithy analysis of a piece that had its weaknesses. As Lockspeiser adds, "Debussy would not have regarded it as weakness, for the reason that the classical unity Tchaikovsky had in mind was what he revolted against. The question in form for Debussy was not 'where does this go?' nor even 'what comes next?' but 'how long can this last?' His music is not of sentiments, but of sensations." 

L 50, Suite for orchestra (piano reduction) (1885)

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Fête

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Ballet

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Rêve

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Bacchanale L 66, Deux arabesques (1888, 1891)

The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time.[1] Of the arabesque in baroque music, he wrote:[2] “that was the age of the ‘wonderful arabesque' when music was subject to the laws of beauty inscribed in the movements of Nature herself.”

The arabesques[edit] The two arabesques are given these tempo marks:[3]

1. Andantino con moto 2. Allegretto scherzando

Arabesque No. 1. Andantino con moto[edit] This arabesque is in the key of E major. The piece begins with parallelism of triads in first inversion, a composition technique very much used by Debussy and other Impressionists which traces back to the tradition of fauxbourdon. It leads into a larger section which begins with a left hand arpeggio in E major and a descending right hand E major pentatonicprogression. The second quieter B section is in A major, starting with a gesture (E-D-E-C♯), briefly passing through E major, returning to A major and ending with a bold pronouncement of the E-D-E-C♯ gesture, but transposed to the key of C major and played forte. In the middle of the recapitulation of the A section, the music moves to a higher register and descends, followed by a large pentatonic scale ascending and descending, and resolving back to E major.

Arabesque No. 2. Allegretto scherzando[edit] The second arabesque in G major is noticeably quicker and more lively in tempo. It opens with left hand chords and right hand trills. The piece makes several transpositions and explores a lower register of the piano. Again notable is a hint of the pentatonic scale. It closes in a similar fashion to the first arabesque. The style more closely resembles some of Debussy's later works.

L 67, Mazurka (1890) L 68, Rêverie (1890) 

L 69, Tarantelle styrienne (Danse) (1890)

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L 70, Ballade slave (Ballade) (1890)

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L 71, Valse romantique (1890) 

L 82, Nocturne (1892)

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L 87, Images oubliées (1894) 

Lent

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Souvenir du Louvre

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Quelques aspects de "Nous n'irons plus au bois"

This is a list of compositions by Claude Debussy, organized by the catalogue created by musicologist François Lesure (French: [ləsyʁ]) in 1977. The catalogue was created because Debussy did not use opus numbers, except for his String Quartet (labeled Op. 10).