A MASTERS REPORT Submitted in Partial Fulfillment-Of The
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1J131J Alexander Boggs Ryan,, Jr., B
omit THE PIANO STYLE OF CLAUDE DEBUSSY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 1J131J Alexander Boggs Ryan,, Jr., B. M. Longview, Texas June, 1951 19139 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . , . iv Chapter I. THE DEVELOPMENT OF THE PIANO AS AN INFLUENCE ON STYLE . , . , . , . , . , . ., , , 1 II. DEBUSSY'S GENERAL MUSICAL STYLE . IS Melody Harmony Non--Harmonic Tones Rhythm III. INFLUENCES ON DEBUSSY'S PIANO WORKS . 56 APPENDIX (CHRONOLOGICAL LIST 0F DEBUSSY'S COMPLETE WORKS FOR PIANO) . , , 9 9 0 , 0 , 9 , , 9 ,9 71 BIBLIOGRAPHY *0 * * 0* '. * 9 9 9 9 9 9 9 9 9 9 .9 76 111 LIST OF ILLUSTRATIONS Figure Page 1. Range of the piano . 2 2. Range of Beethoven Sonata 10, No.*. 3 . 9 3. Range of Beethoven Sonata .2. 111 . , . 9 4. Beethoven PR. 110, first movement, mm, 25-27 . 10 5. Chopin Nocturne in D Flat,._. 27,, No. 2 . 11 6. Field Nocturne No. 5 in B FlatMjodr . #.. 12 7. Chopin Nocturne,-Pp. 32, No. 2 . 13 8. Chopin Andante Spianato,,O . 22, mm. 41-42 . 13 9. An example of "thick technique" as found in the Chopin Fantaisie in F minor, 2. 49, mm. 99-101 -0 --9 -- 0 - 0 - .0 .. 0 . 15 10. Debussy Clair de lune, mm. 1-4. 23 11. Chopin Berceuse, OR. 51, mm. 1-4 . 24 12., Debussy La terrasse des audiences du clair de lune, mm. 32-34 . 25 13, Wagner Tristan und Isolde, Prelude to Act I, . -
Liner Notes (PDF)
Debussy’s Traces Gaillard • Horszowski • Debussy Marik • Fourneau 1904 – 1983 Debussy’s Traces: Marius François Gaillard, CD II: Marik, Ranck, Horszowski, Garden, Debussy, Fourneau 1. Preludes, Book I: La Cathédrale engloutie 4:55 2. Preludes, Book I: Minstrels 1:57 CD I: 3. Preludes, Book II: La puerta del Vino 3:10 Marius-François Gaillard: 4. Preludes, Book II: Général Lavine 2:13 1. Valse Romantique 3:30 5. Preludes, Book II: Ondine 3:03 2. Arabesque no. 1 3:00 6. Preludes, Book II Homage à S. Pickwick, Esq. 2:39 3. Arabesque no. 2 2:34 7. Estampes: Pagodes 3:56 4. Ballade 5:20 8. Estampes: La soirée dans Grenade 4:49 5. Mazurka 2:52 Irén Marik: 6. Suite Bergamasque: Prélude 3:31 9. Preludes, Book I: Des pas sur la neige 3:10 7. Suite Bergamasque: Menuet 4:53 10. Preludes, Book II: Les fées sont d’exquises danseuses 8. Suite Bergamasque: Clair de lune 4:07 3:03 9. Pour le Piano: Prélude 3:47 Mieczysław Horszowski: Childrens Corner Suite: 10. Pour le Piano: Sarabande 5:08 11. Doctor Gradus ad Parnassum 2:48 11. Pour le Piano: Toccata 3:53 12. Jimbo’s lullaby 3:16 12. Masques 5:15 13 Serenade of the Doll 2:52 13. Estampes: Pagodes 3:49 14. The snow is dancing 3:01 14. Estampes: La soirée dans Grenade 3:53 15. The little Shepherd 2:16 15. Estampes: Jardins sous la pluie 3:27 16. Golliwog’s Cake walk 3:07 16. Images, Book I: Reflets dans l’eau 4:01 Mary Garden & Claude Debussy: Ariettes oubliées: 17. -
1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
Claude Debussy in 2018: a Centenary Celebration Abstracts and Biographies
19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION ABSTRACTS AND BIOGRAPHIES Claude Debussy in 2018: A Centenary Celebration Abstracts and Biographies I. Debussy Perspectives, 1918-2018 RNCM, Manchester Monday, 19 March Paper session A: Debussy’s Style in History, Conference Room, 2.00-5.00 Chair: Marianne Wheeldon 2.00-2.30 – Mark DeVoto (Tufts University), ‘Debussy’s Evolving Style and Technique in Rodrigue et Chimène’ Claude Debussy’s Rodrigue et Chimène, on which he worked for two years in 1891-92 before abandoning it, is the most extensive of more than a dozen unfinished operatic projects that occupied him during his lifetime. It can also be regarded as a Franco-Wagnerian opera in the same tradition as Lalo’s Le Roi d’Ys (1888), Chabrier’s Gwendoline (1886), d’Indy’s Fervaal (1895), and Chausson’s Le Roi Arthus (1895), representing part of the absorption of the younger generation of French composers in Wagner’s operatic ideals, harmonic idiom, and quasi-medieval myth; yet this kinship, more than the weaknesses of Catulle Mendès’s libretto, may be the real reason that Debussy cast Rodrigue aside, recognising it as a necessary exercise to be discarded before he could find his own operatic voice (as he soon did in Pelléas et Mélisande, beginning in 1893). The sketches for Rodrigue et Chimène shed considerable light on the evolution of Debussy’s technique in dramatic construction as well as his idiosyncratic approach to tonal form. Even in its unfinished state — comprising three out of a projected four acts — the opera represents an impressive transitional stage between the Fantaisie for piano and orchestra (1890) and the full emergence of his genius, beginning with the String Quartet (1893) and the Prélude à l’Après-midi d’un faune (1894). -
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart Des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03 1 Première Rapsodie pour orchestre 7 Prélude à L’après-midi d’un faune [11:35] Diese wesensmäßige Fertigkeit hatte schon in den Chemie“, an der er sich selbst immer neu ergötzen avec clarinette principale [08:15] flûte solo: Tatjana Ruhland frühen Neunzigern die Bedenken des Dichters konnte, und die aus sich selbst erwachsenden For- Stéphane Mallarmé zerstreut, der zunächst von men in Regelwerke zu zwängen, sich im Geflecht Images pour orchestre 8 Rapsodie pour Debussys Ansinnen, die Ekloge vom Après-midi des Gefundenen, bereits „Gehabten“ zu verhed- Deutsch 2 Rondes de Printemps [08:29] orchestre et saxophone [09:45] d’un faune mit Musik zu umgeben, nicht begeis- dern. Vielleicht wurde daher auch nur das Prélude 3 Gigues [08:38] tert war. Er fürchtete eine bloße „Verdopplung“ zum „Faun“ vollendet, während das Interlude und Iberia [19:48] TOTAL TIME [67:04] seiner musikalisch-erotischen Alexandriner, sah die abschließende Paraphrase nie über die Idee 4 I. Par les rues et par les chemins [07:09] sich aber, kaum dass er das Resultat zu hören be- hinausgelangten. Es war schon alles gesagt. 5 II. Les parfums de la nuit [08:10] 1 Dirk Altmann Klarinette | clarinet kam, ebenso bezwungen wie die Besucher der 6 III. Le matin d'un jour de fête [04:28] 8 Daniel Gauthier Saxophon | saxophone Société Nationale, die am 22. Dezember 1894 die Wer weiß, ob nicht aus just diesem Grunde auch Uraufführung des Prélude „zum Nachmittag eines die Rapsodie arabe im Sande verlief, die sich der Fauns“ miterleben durften. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun) Nocturnes Claude Debussy laude Debussy achieved his musical produced. This work is too exquisite, alas! It Cmaturity in the final decade of the 19th is too exquisite.” century, a magical moment in France when partisans of the visual arts fully embraced the gentle luster of Impressionism, poets navi- In Short gated the indirect locutions of Symbolism, Born: August 22, 1862, in Saint-Germain- composers struggled with the pluses and mi- en-Laye, just outside Paris, France nuses of Wagner, and the City of Light blazed Died: March 25, 1918, in Paris even more brightly than usual, enflamed with the pleasures of the Belle Époque. Works composed and premiered: Prélude à l’après-midi d’un faune begun in 1892 — Several early Debussy masterpieces of perhaps as early as 1891 — and completed the 1890s have lodged in the repertoire, by October 23, 1894; premiered December 22, including, most strikingly, the Prélude à 1894, at a concert of the Société Nationale de l’après-midi d’un faune. Debussy was hardly Musique in Paris, Gustave Doret, conductor. a youngster when he composed it. He had Nocturnes composed 1897–99, drawing on begun studying at the Paris Conservatoire material sketched as early as 1892; dedicated to in 1872, when he was only ten; had served the music publisher Georges Hartmann; Nuages as resident pianist and musical pet for Na- and Fêtes premiered on December 9, 1900, dezhda von Meck, Tchaikovsky’s myste- at the Concerts Lamoureux in Paris, Camille rious patron, in Russia and on her travels Chevillard, conductor; the complete three- during the summers of 1880–82; had finally movement Noctunes was premiered on October 27, 1901, by the same orchestra and conductor. -
<I>Rapsodie Pour Orchestre Et Saxophone</I>, by Claude Debussy
Western Kentucky University TopSCHOLAR® Student Research Music 4-7-2008 Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/mus_stu_res Part of the Music Commons Recommended Citation Blum, Jonathon, "Rapsodie pour Orchestre et Saxophone, by Claude Debussy" (2008). Student Research. Paper 1. http://digitalcommons.wku.edu/mus_stu_res/1 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Student Research by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Music Student Research Western Kentucky University Year Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] This paper is posted at TopSCHOLAR. http://digitalcommons.wku.edu/mus stu res/1 Rapsodie pour Orchestre et Saxophone, by Claude Debussy, Jonathon Blum The Rapsodie pour Orchestre et Saxophone composed by Claude Debussy is a very intriguing work that for all its musical merit remains pushed aside by many musicologists and ignored by the mainstream orchestral repertoire. Composed by Debussy in Paris in 1904 and published by Durand, this work lasts a duration of about ten minutes and features an orchestra with solo saxophone. 1 The piece was commissioned in 1903 by a wealthy Boston aristocrat/amateur saxophonist Mrs. Richard J. Hall, often referred to as Elise Hall. The Rapsodie was composed at the same time that Debussy was working on La Mer and when he was in a period of great distress in his own life. -
Embracing Nontraditional Scales and Tonal Structures, Claude Debussy Is
QUICK FACTS Claude Debussy, Composer BIRTH DATE August 22, 1862 DEATH DATE March 25, 1918 EDUCATION Paris Conservatory PLACE OF BIRTH Saint-Germaine Laye France, PLACE OF DEATH PARIS, FRANCE QUOTES “Music is the space between the notes.” Embracing nontraditional scales and tonal structures, Claude Debussy is one of the most highly regarded composers of the late 19th and early 20th centuries and is seen as the founder of musical impressionism. Synopsis Claude Debussy was born into a poor family in France in 1862, but his obvious gift at the piano sent him to the Paris Conservatory at age 11. At age 22, he won the Prix de Rome, which financed two years of further musical study in the Italian capital. After the turn of the century, Debussy established himself as the leading figure of French music. During World War I, while Paris was being bombed by the German air force, he succumbed to colon cancer at the age of 55. Early Life Achille-Claude Debussy was born on August 22, 1862, in Saint-Germain-en-Laye, France, the oldest of five children. While his family had little money, Debussy showed an early affinity for the piano, and he began taking lessons at the age of 7. By age 10 or 11, he had entered the Paris Conservatory, where his instructors and fellow students recognized his talent but often found his attempts at musical innovation strange. Clair de lune, meaning moonlight, was written by the Impressionist French composer Claude Debussy. Here’s everything you need to know about this piano masterpiece Claude Debussy started wrote the incredibly romantic piano piece Clair de Lune in 1890 when he was just 28, but it wasn’t published for another 15 years! The title means ‘Moonlight’ and the piece is actually part of the four-movement work Suite Bergamasque. -
Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom. -
Richard Goode, Piano
Sunday, April 22, 2018, 3pm Zellerbach Hall Richard Goode, piano PROGRAM William Byrd (c. 1539/40 or 1543 –1623) Two Pavians and Galliardes from My Ladye Nevells Booke (1591) the seconde pavian the galliarde to the same the third pavian the galliarde to the same Johann Sebastian Bach (1685 –1750) English Suite No. 6 in D minor, BWV 811 (1715 –1720) Prelude Allemande Courante Sarabande - Double Gavotte I Gavotte II Gigue Ludwig van Beethoven (1770 –1827) Sonata No. 28 in A Major, Op. 101 (1815 –16) Etwas lebhaft, und mit der innigsten Empfindung. Allegretto, ma non troppo Lebhaft. Marschmäßig. Vivace alla Marcia Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro INTERMISSION Claude Debussy (1862 –1918) Préludes from Book Two (1912 –13) Brouillards—Feuilles mortes—La puerta del Vino—Les fées sont d’exquises danseuses— Bruyères—“Général Lavine” – excentric— La terrasse des audiences du clair de lune— Ondine—Hommage à S. Pickwick Esq. P.P.M.P.C.— Canope—Les tierces alternées—Feux d’artifice Richard Goode records for Nonesuch Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 7 PROGRAM NOTES William Byrd Among Byrd’s most significant achievements Selections from My Ladye Nevells Booke was the raising of British music for the virginal, William Byrd was not only the greatest com - the small harpsichord favored in England, to poser of Elizabethan England, but also one of a mature art, “kindling it,” according to Joseph its craftiest politicians. At a time -
CLAUDE DEBUSSY | SEGMENT LIST © HNH International
CLAUDE DEBUSSY | SEGMENT LIST © HNH International “I could not do without his music. It is my oxygen.” (Francis Poulenc on Debussy) A unique voice in classical music, Claude Debussy exercised widespread influence over later generations of composers, both in his native France and elsewhere, including Messiaen, Cage and Bartók. His music combines late nineteenth- century Romanticism with a soundscape that exudes evocative imagery. This catalogue contains an impressive collection of works by this master composer: piano music, ranging from his ever-popular Clair de lune to the light-hearted Children’s Corner Suite; examples of his influential orchestral music, including Prelude to the Afternoon of a Faun and La Mer; the exquisite opera Pelléas et Mélisande, and much more. © 2018 Naxos Rights US, Inc. 1 of 2 LABEL CATALOGUE # COMPOSER TITLE FEATURED ARTISTS UPC A Musical Journey DEBUSSY, Claude Naxos 2.110544 FRANCE: A Musical Tour of Provence Various Artists 747313554454 (1862–1918) Music by Debussy and Ravel [DVD] DEBUSSY, Claude Naxos 8.556663 BEST OF DEBUSSY Various Artists 0730099666329 (1862–1918) DEBUSSY, Claude Cello Recital – Cello Sonata Tatjana Vassiljeva, Cello / Naxos 8.555762 0747313576227 (1862–1918) (+STRAVINSKY / BRITTEN / DUTILLEUX) Yumiko Arabe, Piano DEBUSSY, Claude Naxos 8.556788 Chill With Debussy Various Artists 0730099678827 (1862–1918) DEBUSSY, Claude Clair de lune and Other Piano Favorites • Naxos 8.555800 Francois-Joël Thiollier, Piano 0747313580026 (1862–1918) Arabesques • Reflets dans l'eau DEBUSSY, Claude Naxos 8.509002 Complete Orchestral Works [9CDs Boxed Set] Various Artists 747313900237 (1862–1918) DEBUSSY, Claude Early Works for Piano Duet – Naxos 8.572385 Ivo Haah, Adrienne Soos, Piano 747313238576 (1862–1918) Printemps • Le triomphe de Bacchus • Symphony in B Minor DEBUSSY, Claude Naxos 8.578077-78 Easy-Listening Piano Classics (+RAVEL) [2CDs] Various Artists 747313807772 (1862–1918) DEBUSSY, Claude Naxos 8.572472 En blanc et noir (+MESSIAEN) Håkon Austbø, Ralph van Raat, Piano 747313247271 (1862–1918) Four-Hand Piano Music, Vol. -
Nocturnes Claude Debussy (1862–1918) Written: 1892–99 Movements: Three Style: Impressionistic Duration: 25 Minutes
Nocturnes Claude Debussy (1862–1918) Written: 1892–99 Movements: Three Style: Impressionistic Duration: 25 minutes Debussy disliked having the term impressionism applied to his music. However, there are similarities between the great impressionistic painters like Monet and Renoir and the music of Debussy. Monet’s paintings are not so much about a particular subject as they are about light and color. Debussy continuously experimented with harmony and various combinations of orchestral instruments to develop a huge palette of musical color. The Nocturnes started out in 1892 as “Three Twilight Scenes.” Debussy never finished them but tried to recast them as a violin concerto for Eugéne Ysaÿe. He claimed he was experimenting with "the different shades that can be obtained of one color—like a study in gray painting." Debussy abandoned the violin concerto idea and finally finished the piece—for orchestra and wordless women’s chorus—in 1899. The new title was Nocturnes but he cautioned that the title was “not meant to designate the usual form of a nocturne, but rather all the impressions and special effects of light that the word suggests.” He continued to describe the three Nocturnes in almost painterly terms: Nuages (Clouds) renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in gray tones slightly tinged with white. Fetes (Festivals) gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision) which passes through the festive scene and becomes merged in it.