Sunday, May 21, 2017

Debussy - Préludes For Piano Book Two

As with the first book of preludes, Claude Debussy wrote the second book of twelve in a few months between 1912 and 1913.  They are similar in mood to those of the first book, but the music itself is more complex harmonically and there is a greater emphasis on technique. During Debussy's lifetime, Book I sold more copies than Book II, possibly because the nature of the music was that much more unique. Debussy followed the procedure of Book I by placing his descriptive titles of the pieces at the end of the preludes of Book II.

The second book of preludes was Debussy's penultimate foray into music for solo piano. After the set of 12 Etudes written in 1915, Debussy composed no more major works for piano solo.


1) Brouillards (Mists) -  Debussy utilizes bi-tonality to depict layers of mist as the left hands plays on the white keys while the right hand plays on the black keys. This is a sort of visual representation (for the performer at any rate) of mixing while with black to create Debussy's gray colored mist. The music begins in 4/8 time and shifts meter to 3/8, 3/4 and back to 4/8 periodically throughout the piece, adding to the drifting and changing direction and speed of the mist.

2) Feuilles mortes (Dead leaves) -  Supposedly written after an autumnal walk taken by Debussy, this prelude is not morbid in any sense of something dead. It is more like the shifting colors of leaves that have taken on the colors of autumn. It is a subtle depiction of colors through changing tonalities.

3) La puerta del Vino (Wine Gate): Mouvement de Habanera - Carrying on the love of Spanish music by French composers, Debussy composed a companion piece to La sérénade interrompue (The interrupted serenade) of Book I.  The wine gate in question is one located in the Moorish Palace Of The Alhambra in Granada, Spain. The rhythm of the habanera dance runs throughout in the bass.
Peter Pan In Kensington Gardens 

4) Les fées sont d'exquises danseuses (Fairies are exquisite dancers) - Arthur Rackham's illustrations to Peter Pan In Kensington Gardens was the inspiration for this prelude, in particular a depiction of fairies tight-rope walking on a spider's web. The music begins with fast music that may refer to the fairies flying, with the spider web walking coming a little later.

5) Bruyères (Heather) -  A representation of the simple flower of heather. Its pastoral mood and folk song simplicity is similar to La fille aux cheveux de lin (The girl with the flaxen hair) of Book I.

6) Général Lavine – eccentric: Dans le style et le mouvement d'un Cakewalk - An example of Debussy's liking of contemporary popular performers. Ed Lavine was an American juggler performer that was billed as General Lavine, The Man That Has Soldiered All His Life. Among his reported tricks was to play the piano with his toes! Debussy saw the General perform in Paris in 1912 and enjoyed his performance so much he immortalized him in this prelude. Debussy wrote other pieces in American ragtime style, with one of them being Minstrels of Book I.

7)  La terrasse des audiences du clair de lune (The terrace of moonlit audiences) - There is little in the way of description or source of inspiration concerning this piece. It is pure Debussy. Whatever he meant by the title doesn't matter much. It is music of Debussyian sensuality, power and beauty.

8) Ondine : Scherzando - Ondines are mythological Scandinavian water nymphs that sang and danced on the water's surface that could also lure fisherman away from their labors. Debussy shows them playing on the rippling water as well as outbursts that depict their mischievous intent to divert fisherman.

9) Hommage à S. Pickwick Esq. P.P.M.P.C. (Homage to S. Pickwick) - Debussy made a few trips to England where his music was well received, and he was an avowed Anglophile. This music is a tribute to the English author Charles Dickens, a favorite of Debussy's. Debussy doesn't let his love of everything English prevent him from parody as he begins the prelude with a rude rendition of God Save The King. Various other styles emerge, along with a jig tune towards the end.

Canopic jars
10) Canope (Canopic jar) - Canopic jars were used by ancient Egyptians to hold the vital organs of the deceased while the body and heart were mummified. The lungs, liver, intestines and stomach were each kept in separate jars for safekeeping and use in the afterlife. The lids of these clay jars were made in the forms of Egyptian gods, and Debussy had some of these lids on his mantle in his house.

11) Les tierces alternées (Alternating thirds) - This is in the style of his set of Etudes that were to be written in 1915. The title says it all, as it is comprised of alternating thirds throughout. The musical effect comes from changes in dynamics as the musical elements are rather straightforward.

12) Feux d'artifice (Fireworks) - The final prelude of the entire set of 24 is a grand finale and continuation of all that has gone before. With rapid scales, repeated notes, large chords and glissandos, Debussy depicts skyrockets and other fireworks that are set off on the French Independence Day, July 14th - Bastille Day. The final shooting of massive skyrockets is depicted by a double glissando - the left hand down the white notes, the right hand down the black notes. After the last sparks die away, the Marseillaise rumbles quietly in the background.

1 comment:

  1. Very informative; very instructive. Your comments will guide my next listen to these wonderful pieces. Thanks.

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