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Claude Debussy Piano Music Vol Claude Debussy Piano Music Vol. II Michael Korstick 02 Claude Debussy (1862 – 1918) Der Sturz über die „Debussy-Klippe“ 03 Michael Korstick Klavier Warum uns die Musik einiger Komponisten Zur selben Zeit begegnete ich erstmals meinem beson ders nahesteht, ist ein unergründliches damaligen Idol Arturo Benedetti Michelangeli im 12 Préludes, deuxième livre La boîte à joujoux (Ballet) Geheim nis. Ist ein spezifisches auslösendes Konzert, und zwar mit Children’s Corner und Ereig nis dafür verantwortlich, sind es persönliche sämtlichen Images, die einen geradezu überwäl- Deutsch 1 Brouillards 14 Prélude. Très modéré – Erfahrungen, können Erlebnisse außerordent- tigenden Eindruck auf mich machten (wobei mir Modéré extrêmement égal et léger [02:46] Premier tableau. Modéré [11:49] licher Interpretationen unauslöschliche Ein- eine neben mir sitzende Dame unvergesslich 2 drücke hinterlassen? Bei mir war es wohl eine Mi- bleiben wird, die mir nach fast jedem Stück zu- Feuilles mortes 15 Deuxième tableau. Lent et mysterieux [08:20] Lent et mélancholique [03:13] schung daraus, jedenfalls begann meine Neigung flüsterte, dass Walter Gieseking das doch alles so 16 Troisième tableau. Très modéré [08:09] 3 La puerta del vino zur französischen Musik mit einer Phase absolu- viel schöner gespielt habe, was bei mir nicht nur Mouvement de Habanera avec de ter Debussy-Schwärmerei. Als ich mit fünfzehn heftigen Widerspruch auslöste, sondern auch das brusques oppositions d’extrême 17 Berceuse héroique [04:38] Jahren Schüler von Jürgen Troester in Köln wurde, Verlangen, die freundliche Musikliebhaberin auf violence et de passionnée douceur [03:16] wählte dieser als erstes größeres Solostück der Stelle zu erwürgen … ). Wenig später hörte ich Debussys Suite Pour le Piano für mich aus. Diese mein erstes Orchesterstück von Debussy, La Mer, 4 18 « Les fées sont d’exquises danseuses » Page d'album Klangwelt, eine Mischung aus Archaik, Neo- dirigiert von keinem Geringeren als Carlo Maria Rapide et léger [02:50] pour l’oeuvre du « Vêtement du blessé » [01:01] barock und farbiger Harmonie, nahm mich so- Giulini – da dürfte es wohl niemanden verwun- 5 Bruyères gleich gefangen. Wenig später spielte ich das dern, dass mich diese Eindrücke endgültig über Calme – Doucement expressif [02:45] 19 Élégie [02:25] Stück in einem Schülerkonzert, das mein Leben die Debussy-Klippe schubsten. 6 « General Lavine » Eccentric nachhaltig beeinflussen sollte: Der gestrenge Dans le style et le mouvement TOTAL TIME [74:24] Kritiker des Kölner Stadt-Anzeigers reklamierte die Die Möglichkeit, meine inzwischen vier Jahrzehn- d’un Cake-Walk [02:25] „Entdeckung eines pianistischen Talents“ und te andauernde Beschäftigung mit dieser immer 7 La terrasse des audiences endete mit dem Verdikt: „Derart entfesseltes und aufs Neue faszinierenden Musik jetzt in Form ei- du clair de lune zugleich kontrolliertes Spiel schien den gebore- ner Gesamteinspielung zu resümieren, erfüllt 04:12 nen Virtuosen zu exemplifizieren.“ Auch das Kon- mich schon deshalb mit größter Freude. Lent [ ] II 8 Ondine kurrenzblatt, die Kölnische Rundschau, sprach in . seltener lokaler Einmütigkeit von einer Bestim- Es ist diese Begeisterung für einen der ganz Vol Scherzando [03:11] mung zur Pianistenlaufbahn. Allerdings war mir Großen der Musik, die mich inspiriert hat, auch 9 Hommage à S. Pickwick Esq. P. P. M. P. C. zunächst der unmittelbarere Effekt dieses Debussys Klavierfassungen von Orchesterwerken Grave [02:11] schwerwiegenden Lobes viel wichtiger, nämlich mit einzubeziehen, die natürlich viel mehr sind 10 Canope die Rettung vor dem geballten Zorn meines Leh- als „Klavierauszüge“, für mich stehen sie vielmehr Klavier Très calme et doucement triste [03:01] rers über meine Unverfrorenheit, dass ich auf ähnlichem Niveau wie Strawinskys Petrusch- 11 Les tierces alternées klammheimlich und hinter seinem Rücken ein ka-Suite. Modérément animé [02:25] weiteres Stück meines neuen Helden einstudiert Werke für Werke 12 und als Zugabe gespielt hatte, nämlich | Michael Korstick Feux d‘artifice Modérément animé [04:08] Golliwogg’s Cakewalk aus Children’s Corner. 13 01:28 The little negro [ ] EBUSSY D CLAUDE CLAUDE PIANO 04 Claude Debussy: Sämtliche Klavierwerke Vol. 2 05 Der Hauptunterschied zwischen den beiden Bän- genden Préludes, wie etwa in den wellenartigen natür lich über den Ärmelkanal ins England eines Aber die atmosphärische Musik, die Debussy hier den der Préludes lässt sich damit erklären, dass chromatischen Figuren in den Nummern 7, 8 und Charles Dickens; und es ist die antike Stadt gelungen war, erwies sich als das genaue Gegen- Debussy Strawinskys Petruschka entdeckt hatte, 10, oder in den jeweils eine Terz voneinander ent- Canope, der die Deckel der Grabgefäße, von de- teil. Eine zweite, korrigierte Ausgabe erschien be- Deutsch bevor er im Dezember 1911 den zweiten Band mit fernten Tonarten der Nummern 5 – 6, 7 – 8 und nen Debussy zwei auf seinem Schreibtisch ste- reits zwei Monate später, und auch die Einzelaus- Deutsch Brouillards („Nebel“) in Angriff nahm. Für Debus- 9 – 10. Obwohl Debussy nie darauf bestanden hat, hen hatte, ihren Namen verdanken. Vielleicht gaben der Préludes (die in Auflagen von je 1000 sy eröffnete dieses frühe russische Ballett eine dass diese Stücke als kompletter Zyklus aufge- nicht überraschend, aber dafür umso spektakulä- Stück gedruckt wurden) verkauften sich blen- magische Klangwelt, die ihn zu einem verstärk- führt werden müssten, so sollte der Zuhörer doch rer, endet der Zyklus in Frankreich, und zwar auf dend. Dass Debussy in Bruyères über seiner Heide ten Gebrauch von Achttonskalen und zum Über- den Eindruck gewinnen, dass sie trotz ihrer Hete- den Terrassen in der Nähe von Meudon, wo die Sonne scheinen lässt und ihr stürmische Win- einanderlegen von Dur- und Molldreiklängen mit rogenität in Stil und Stimmung eine musikalische Debussy am 14. Juli 1912 das Feuerwerk zum fran- de erspart, dürfte der Versuch gewesen sein, an Grundtönen im Abstand von einem Halbton, ei- Einheit bilden. Es lässt sich nur noch mit Mühe zösischen Nationalfeiertag beobachtete. die Popularität des Mädchens mit den Flachshaa- ner Terz oder einem Tritonus inspirierte, Dinge, nachvollziehen, wer welches Stück uraufgeführt ren anzuknüpfen, genau wie General Lavine ein die auch in seinem zur gleichen Zeit entstande- hat, wir wissen aber, dass die erste vollständige Man kann also davon ausgehen, dass die meisten Äquivalent der munteren Minstrels sein sollte. nen ägyptischen Ballett Khamma (siehe Volume 1 Aufführung am 12. Juni 1913 in der Aeolian Hall in dieser späteren Préludes von 1912 datieren und Auch Das Tor des Weines ist eine Art melodischere von Michael Korsticks Debussy-Einspielungen; London stattfand, der Interpret war Walter dass sie nach künstlerischen und nicht nach Version des Unterbrochenen Ständchens, wobei hänssler CLASSIC CD 93.290) zu finden sind. Ob- Rummel (Debussys „Fürst der Virtuosen“). chronologischen Gesichtspunkten angeordnet hier noch die Habanera-Rhythmen von La Soirée wohl er die Grenze zur echten Bitonalität nie sind. Debussy hatte einige Schwierigkeiten mit dans Grenade aus den Estampes einen wirkungs- überschritt, kam Debussy doch immer wieder ex- In dieser zweiten Sammlung kommen Debussys der Fertigstellung der letzten beiden Stücke im vollen Gastauftritt absolvieren. Wenn die Hom- trem in deren Nähe, wie etwa zu Beginn von Inspirationsquellen von noch weiter her als Januar 1913, und es deutet einiges darauf hin, mage à S[amuel] Pickwick Esq[uire] und Canope Brouillards, wo er eine ganz eigene atmosphäri- sonst: die Idee zu La puerta del vino hat ihren Ur- dass Les Tierces alternées („Alternierende Terzen“) auch eher leichtgewichtig sein mögen, so gehö- sche, regelrecht „impressionistische“ Version von sprung in einer Postkarte mit einem Bild des mit den flüchtigen Anspielungen auf Wagner und ren jedenfalls Brouillards, Feuilles mortes, La Ter- Strawinskys Klavierfigurationen auf jeweils wei- maurischen Tores in der Nähe der Alhambra in Strawinskys Sacre du Printemps (den Debussy zu- rasse des audiences du clair de lune und Feux ßen und schwarzen Tasten für die rechte und lin- Granada, die er von Manuel de Falla bekommen sammen mit dem Komponisten im Juni 1912 am d’artifice zu Debussys phantasievollsten und ke Hand des Pianisten erschuf. Hiervon ausge- hatte; Die Feen sind ausgezeichnete Tänzerinnen Klavier vom Blatt gespielt hatte) als Ersatz für das meisterhaftesten Schöpfungen. II hend legte er zwei weitere Grundideen für den geht auf Arthur Rackhams Illustration von J.M. von Kiplings Geschichte von Toomai of the Ele- . Zyklus als Ganzes fest: wellenartige chromati- Barries Peter Pan in Kensington Gardens (1907) zu- phants inspirierte Prélude (siehe Volume 1) in die La Boîte à joujoux, ein „Kinderballett“ nach einem Vol sche Bewegungen im mittleren Bereich der Tasta- rück, ein Geschenk von Robert Godet an Debussys Sammlung gekommen ist. Debussy scheint auch Szenario von André Hellé, wurde im darauffol- tur sowie das Prinzip der Auflösung von C-Dur in Tochter Chouchou zu Neujahr 1912, während eine ein Prélude im Geiste des Violinvirtuosen Pagani- genden Sommer fertiggestellt, kurz nachdem De- die Haupttonart Des-Dur – so wie sich Brouillards andere Rackham-Illustration zu La Motte Fouqués ni in Betracht gezogen zu haben, bevor er zu dem bussy die Orchestration des tiefgründigeren und in Feuilles mortes („Verwelkte Blätter“) und La pu- Undine (1912) das Prélude Nr. 8 inspiriert haben Entschluss kam, eine technische Studie in den eher sinistren Balletts Jeux für Diaghilev
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