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Claude DEBUSSY CENTENARY EDITION 2018 Claude DEBUSSY CENTENARY EDITION 2018 T ROIS M ORCEAUX 1903-1904 M ASQUES …d’un C AHIER d’E SQUISSES L ’ I SLE J OYEUSE iano Practical Editions pianopracticaleditions.com Claude DEBUSSY 1862 - 1918 Trois Morceaux 1903-04 I MASQUES page 4 I I …d’un CAHIER d’ESQUISSES page 24 I I I l ’ISLE JOYEUSE page 30 These three pieces published separately in 1903-04 are united here in one volume, possibly for the first time, where their interconnection as a group can be readily appreciated. By 1890 Debussy was deeply involved in the poetry of Verlaine — “charmant masques et bergamasques quasi tristes sous leurs déguisements fantasques”*. Masques and l’Isle Joyeuse were almost certainly drafted at this time, twinned and generally seen to be heavily influenced by personal dramas in the composer’s life. Following the attempted suicide of his first wife Lilly Texier, Masques might represent anguish at the Isle — Joyeuse describing the Emma Bardac c1900 elopement and love of the second, Emma Bardac. Roy Howat advances a plausible argument that d’Esquisses (from a sketchbook) serves just as well Debussy may have planned these three pieces to to complete this “second Suite Bergamasque”. form a suite similar to Images or Estampes; the first and third performed as a pair by Ricardo Viñes in In addition to thematic and rhythmic connections February 1905. While it is possible that a sarabande between the outer movements, they share the same tonal centre, with Masque's final mediant (C ) was destined for the interlude, d’un Cahier # 1 mutating naturally to the dominant of d’un Cahier the Société musicale indépendante, by no less a d’Esquisses; listen in particular to its final treble celebrity than Maurice Ravel. A slow and sensuous tonic and the magical way the opening trill of l’Isle prelude, so well does it precede the following “Isle Joyeuse emerges and develops into a cadenza. of Joy”. I Masques — Debussy once confided to III L'Isle joyeuse — Unmistakably erotic, the Marguerite Long: « it is not the comédie italienne, opening flute solo cadenza is worthy of l’après-midi but the tragic expression of existence. » Like d’un faune. Inspired by an eighteenth century Schumann, he was fired with enthusiasm for the painting — Watteau Le Pèlerinage à l’île de Cythère, masked players of the Commedia dell’arte. Masks a work of art so special that the artist produced no occur throughout Debussy’s œuvre with clowns, less than three versions; the second can be admired blackface minstrels and voiles, but most of all the in the Louvre. They were named pèlerinage and mask permanently presented to hide emotions. Or later embarquement, although the subject more perhaps those which must be dropped to achieve probably depicts a departure from the island of true emotion. Like Schumann’s journalistic alter egos Cythera, the birthplace of Venus, featuring besotted Eusebius, Florestan and Meister Raro, Debussy couples visiting a shrine to the goddess of love. wrote much criticism under the masked name of Much of Debussy’s music is sensual and exotic and Monsieur Croche, antidilettante : « L'art est le plus this work expresses euphoria enjoyed by the French beau des mensonges…. Mais, sacristi, la musique ! aristocracy. Seldom has his music reached such c'est du rêve dont on écarte les voiles ! »* ecstatic and triumphal lyricism. Without subtlety, the winged cupids can leave us in no doubt — these The introductory open fifths remind me of Fêtes (the French aristocrats have found desire, love and joy second nocturne for orchestra) which was written on a sultry Greek island, and Debussy leaves us in around the same time… and I must mention two no doubt that he too has found passion on his wonderfully original and evocative passages : 236 - romantic island — the music speaks for itself. 269 and the final coda on page 23. II … d’un Cahier d’Esquisses — It is unusual for Debussy to compose without a significant or literary “I believe more and more that music in its essence title; might ”from a scrapbook” or “sketchbook” is not a thing that can be poured into a rigorous and mean that the work is to provide a link between two traditional mould. It is made of colours and others? The exquisite whole tone passage from 19 - rhythmical beats. Music is a mysterious 28 reminds me of Hommage à Rameau from the mathematical process whose elements partake of first book of Images. Commissioned and published infinity, capturing mysterious relations between by the magazine Paris illustré in February 1904, it nature and the imagination”. — Claude Debussy was first performed in Paris on 20th April 1910, for The strong influence of French piano music is surely 2 Watteau "l'Embarquement pour Cythère" 1717 identified with Chopin and Debussy who share a musicians’ perverse desire to completely dismiss the unique position as masters of an exceptional composer’s (and editor’s), and thereby vindicating instrument; through an extensive affinity with the words of eternal wisdom: ‘If you want something sustaining pedal they each created a personal done well, do it yourself’. Let us seek our own language conceived to communicate their work with fingering!” the greatest authenticity. « Il n’y a pas de théorie, le plaisir est la règle. » — During the centenary year Piano Practical Editions There is no such thing as theory, pleasure is the only became a creative and critical publication; in this rule” — Claude Debussy volume there are several modifications (see the appendix page 48) and possibly an improved layout * beguiling masks and bergamasks feigning of the text. sorrow beneath their whimsical disguises * art is the most beautiful falsehood Here is an apt quotation by the composer :“Absence * But good grief, music is the dream from which of fingering is an excellent exercise, negating the veil is lifted! 3 4 MASQUES très vif et fantasque - œ . œ œ . œ . œ œ œ- œ #œ- œ nœ- œ œ- œ ? 6 œ- œ œ œ œ. œ œ œ œ œ œ- œ- œ œ œ œ œ 8 . détaché et rythmé π - 5 œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ- œ- œ œ- œ #œ- œ nœ- œ œ- œ ? œ- . œ 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ œ œ œ ? œ- œ > & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 13 œ π ##œ #œ œ nœ bœ ? œ #œ œ œ œ œ #œ œ œ bœ œ œ œ > > ? & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 17 œ π œ bœ ##œ œ #œ œ nœ bœ œ bœ œ ? œ #œ œ œ #œ œ œ œ bœ œ œ #œ œ œ œ œ > 5 5 bœ. œ. œ. œ bœ. œ. œ. œ bœ. œ. œ. œ bœ. bbœœ. œœ. ? ‰ b œ œ œ œ b œ œ œ œ b œ œ œ œ œ œ œ expressif 22 p ? bœ bœ œ œ bœ bœ œ œ b˙ b ˙ . ˙ . œ œ ˙ . œœ bbœœ œ #œ. œ #œ. œ. œ. œ #œ. œ. œ. œ #œ. œ. œ ? œ œ œ ## œ œ ## œ nœ nœ œ # œ œ œ œ # œ œ n#œ œ œ œ œ œ J 26 p ? j . œ #œ œ œ #œ nœ ˙ . œ œ nœ 5 bœ œ œ œ bœ œ œ œ bœ œ nœ œ œ œ œ ? b œ œ œ œ b œ œ œ œ b œ œ n œ œ œ bœ œ ‰ J 30 ? bœ bœ œ œ bœ bœ œ œ b˙ #œ œ ˙ & b ˙ . ˙ . # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ ? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ J & poco crescendo 34 #œ œ #œ œ #œ œ #œ œ ? & Œ œ œ œ Œ œ œ œ #˙ . ˙ . n˙ . ˙ . > - & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 38 œ p - ##œ #œ œ nœ bœ ? œ #œ œ œ œ œ #œ œ œ bœ œ œ œ > 6 > & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 œ p p œ bœ ##œ œ #œ œ nœ bœ œ b œ œ ? œ #œ œ œ #œ œ œ œ bœ œ œ #œ œ œ œ œ > œ œ œ œ œ œ œ œ œ œ œ œ ? œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ & œ2 #œ œ #œ œ #œ œ1 #œ 47 la basse en dehors œ œ œ ? œ #œ œ œ œ3 #œ ˙ . ˙ . ˙ . ˙4 œ - j - j .œ .œ œ .œ .œ œ œ œ œ œ ? bœ œ bœ œ œ bœ ‰ œ bœ œ ‰ œ Œ œ œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ & 52 ? . ˙ ˙ œ œ . œ . œ . > > > & œ œ œ œ œ œ œ œ bœœ œ bœ bœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 56 œ bœ œ bœ bœ f - - - - - ? œ >œ 60 & œ œ œ œ œ œ œ bœœ œ bœ bœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ bœ 7 - - - - - - & œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 64 ƒ ? œ œ œ œ œ œ œ œ b˙ .
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