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Vorwort Preface III Vorwort Wie Debussys späteres wichtiges sym­ Der Herausgeber dankt den in den Be- phonisches Werk Nocturnes zeigt, lag merkungen genannten Bibliotheken für ihm das im 19. Jahrhundert sehr belieb­ freundlich zur Verfügung gestellte Quel­ te Nachtstück, Notturno oder Nocturne, lenkopien. besonders am Herzen und entsprach sei­ Claude Debussy (1862 – 1918) kompo­ ner Vorliebe für die musikalische Schil­ München, Frühjahr 2018 nierte in jungen Jahren, als er seinen derung des Halbdunkels, der Dämme­ Ernst­Günter Heinemann Personalstil noch nicht gefunden hatte, rung und der damit verbundenen Stim­ eine Reihe einzelner Klavierstücke, die mungen. Sicherlich fühlte er sich von den durchaus aufhorchen lassen, obwohl sie Beiträgen Robert Schumanns, Frédéric in Teilen dem damals üblichen Stil ent­ Chopins sowie den Nocturnes von Ga­ sprechen. Er griff hierbei gelegentlich auf briel Fauré (erschienen ab 1883) beson­ bekannte Gattungen zurück (Ballade, Ma­ ders angesprochen. Auch Franz Liszts zurka, Nocturne, Walzer), die er aber in Nocturne En rêve von 1885 könnte ihn Preface der Regel jeweils nur einmal verwende­ angeregt haben, denn Debussy lebte te. Damit gab er zu erkennen, dass er 1885 – 87 als Rompreisträger in der Villa sich traditioneller Formen zwar bewusst Medici in Rom und hatte persönlichen war, sich aber nicht eingehender damit Kontakt zu Liszt. Debussys Nocturne beschäftigen wollte. Das sollte sich spä­ ist zwar 1892 erschienen, könnte aber Claude Debussy (1862 – 1918) compos­ ter ändern. Mit den Préludes und Étu­ deutlich früher entstanden sein. ed a series of individual piano pieces des seiner Meisterjahre setzte er wieder 1901 übergab Dupont seinen Verlag in his early years before he had found auf musikhistorisch erprobte Gattungs­ der neu gegründeten Société Nouvelle his own personal style. These definitely felder. d’Éditions Musicales, welche Nocturne make one sit up and listen, although in Zur Entstehung des zwar kurzen, unverändert nachdruckte. Etwa um das parts they are still in the style typical of aber in rhythmisch­metrischer und har­ Jahr 1920 wurde der Verlag an die Com­ the time. In these pieces he occasionally monischer Hinsicht anspruchsvollen pagnie Française d’Éditions (auch als drew on well­known genres (ballade, Klavierstücks Nocturne ist nichts Nähe­ Éditions de la Sirène oder La Sirène Mu­ mazurka, nocturne, waltz), but he gener­ res bekannt. Es wurde von Paul Dupont sicale firmierend) verkauft; sie gab eine ally only used each of these once. In so 1892 in der August­Nummer des Figaro vom ungarisch­französischen Pianisten doing he showed that although he was musical, einer 1891 – 94 zur Tageszeitung und Musikpädagogen Isidor Philipp re­ aware of traditional forms, he did not Le Figaro erschienenen Beilage, veröf­ vidierte Ausgabe des Nocturne heraus. want to immerse himself more deeply in fentlicht und anschließend unverändert Deren nicht als solche gekennzeichneten them. This was to change later. With the in dessen eigenem Verlag herausgegeben. Änderungen können aber nicht als au­ Préludes and Études of his master years Dupont war Musikverleger und Redak­ thentisch gelten. Deshalb ist Vorsicht he returned to tried­and­tested music­ teur des Figaro musical. Zu dieser Zeit auch gegenüber Ausgaben angebracht, historical genres. arbeitete Debussys Vater als Assistent die sich in der Tradition von Philipp be­ Little is known about the composition in Duponts Verlag. Dies erklärt, wie der wegen. Tatsächlich ist die Erstausgabe of the piano piece Nocturne; although Kontakt des Sohns zum Verlag zustande an einigen Stellen harmonisch nicht ein­ short, it nevertheless presents rhythmic, kam. Laut erhaltenem Vertrag, in dem deutig, weil Vorzeichen fehlen oder nicht metric and harmonic challenges. It was das Stück als „Nocturne (Interlude.)“ konsequent gesetzt sind. Debussys Auto­ published by Paul Dupont in 1892 in bezeichnet wurde, erhielt Debussy am graph, das Hilfestellung leisten könnte, the August issue of Figaro musical, an 27. Juli 1892 für seine Komposition ist nicht erhalten (zur Quellenlage und insert that appeared between 1891 and 100 Francs (Abdruck des Vertrags in den problematischen Stellen siehe die 1894 in the daily paper Le Figaro. It was Claude Debussy. Correspondance, hrsg. Bemerkungen am Ende der vorliegen­ subsequently published unaltered by his von François Lesure/Denis Herlin, Paris den Edition). own publishing company; Dupont was 2005, S. 107). In einer Vorrede kommen­ Die Werknummer folgt dem Verzeich­ a music publisher and editor of Figaro tierte Dupont die Veröffentlichung wie nis in François Lesures Biographie musical. At this time Debussy’s father folgt: „Lassen Sie sich nicht von einigen Claude Debussy, Paris 2003. Die einge­ work ed as an assistant in Dupont’s pub­ Schwierigkeiten abschrecken, auf die Ih­ klammerte Nummer ist übernommen lishing house. This explains how his son re Finger beim Spielen des Stücks sto­ aus Lesures früherem Verzeichnis Cata- came to be in contact with the publish­ ßen werden. Denn es sind Schwierigkei­ logue de l’œuvre de Claude Debussy, ing company. According to the surviving ten, die man gerne meistert, weil sie uns Genf 1977. contract, in which the piece was describ­ etwas sagen“ (Figaro musical, Nr. 11, Die deutsche Übersetzung der fran­ ed as “Nocturne (Interlude.)”, Debussy August 1892, S. VI; im Original auf zösischen Vortrags­ und Tempobezeich­ received 100 francs on 27 July 1892 for Französisch). nungen befindet sich auf S. 11. his composition (the contract is repro­ HN_1087_Vorwort_SRZ.indd 3 16.01.2018 15:43:40 IV duced in Claude Debussy. Correspon- passages, see the Comments at the end Musical, supplément du quotidien Le dance, ed. by François Lesure/Denis of this edition). Figaro paru entre 1891 et 1894, et édi­ Herlin, Paris, 2005, p. 107). In a pref­ The work number follows the cata­ tée ensuite sans modifications par sa ace Dupont commented on the publica­ logue in François Lesure’s biography propre maison d’édition. Dupont était tion as follows: “Do not be discouraged Claude Debussy, Paris, 2003. The num­ en effet à la fois rédacteur du Figaro by a few difficulties which your fingers ber in parentheses is taken from Lesure’s Musical et éditeur de musique. Le père will encounter when deciphering the earlier Catalogue de l’œuvre de Claude de Debussy occupait alors un poste d’as­ piece. For these are difficulties which you Debussy, Geneva, 1977. sistant aux éditions Dupont, ce qui ex­ will happily conquer because they tell The English translation of the French plique sans doute l’origine des liens entre us something” (Figaro musical, no. 11, expression and tempo marks is to be son fils et la maison Dupont. Selon le August 1892, p. VI; French in the origi­ found on p. 11. contrat conservé, dans lequel la pièce nal). pour piano est qualifiée de «Nocturne As Debussy’s later important sym­ The editor wishes to thank the libraries (Interlude.)», Debussy reçut 100 francs phonic work Nocturnes shows, he was named in the Comments for kindly mak­ pour sa composition le 27 juillet 1892 particularly fond of the Nachtstück, ing copies of the sources available. (reproduction du con trat dans Claude Notturno or Nocturne, which was ex­ Debussy. Correspondance, éd. par Fran­ tremely popular in the 19th century. It Munich, spring 2018 çois Lesure/Denis Herlin, Paris, 2005, corresponded with his love of portraying Ernst­Günter Heinemann p. 107). Dans son préambule, Dupont semi­darkness, twilight and the associ­ commente la publication de la manière ated moods in music. He certainly felt suivante: «Ne vous rebutez pas aux quel­ a special affinity with works by Robert ques difficultés que vos doigts rencontre­ Schumann, Frédéric Chopin and the ront en déchiffrant ce morceau, car ces Nocturnes of Gabriel Fauré (which were difficultés sont de celles qu’on aime à published from 1883 onwards). Franz vaincre parce qu’elles vous disent quel­ Liszt’s nocturne En rêve of 1885 may Préface que chose» (Figaro musical, no 11, août have inspired him, for Debussy lived at 1892, p. VI). the Villa Medici in Rome from 1885 to Comme le montre l’œuvre sympho­ 1887 as winner of the Prix de Rome nique importante également baptisée and had personal contact with Liszt. Al­ Nocturnes composée ultérieurement par though Debussy’s Nocturne was pub­ Alors qu’il n’avait pas encore trouvé son Debussy, ce dernier affectionnait parti­ lished in 1892, it may have been com­ style personnel, Claude Debussy (1862 – ​ culièrement le genre très en vogue au posed considerably earlier. 1918) composa dans sa jeunesse une XIXe siècle du Nocturne, Notturno, ou In 1901 Dupont transferred his pub­ série de pièces isolées pour piano qui, si encore Nachtstück, qui faisait sans doute lishing house to the newly­founded So­ elles se conforment encore pour partie au écho à sa prédilection pour l’illustration ciété Nouvelle d’Éditions Musicales, style alors en usage, méritent pourtant musicale de la tombée du jour et des at­ which reprinted Nocturne unaltered. que l’on s’y intéresse. Les genres adop­ mosphères crépusculaires. Les contribu­ Around about 1920 this publisher was tés sont parfois connus (ballade, mazur­ tions de Robert Schumann et Frédéric sold to the Compagnie Française d’Édi­ ka, nocturne ou valse), mais n’appa­ Chopin de même que les nocturnes de tions (which also traded as Éditions raissent généralement qu’une seule fois Gabriel Fauré (parus à partir de 1883) de la Sirène or La Sirène Musicale); the chacun, permettant ainsi à Debussy de ont certainement joué un rôle détermi­ Compagnie issued a revised edition of montrer qu’il maîtrisait les formes tra­ nant. Le nocturne En rêve de 1885 de Nocturne by the Hungarian­French pia­ ditionnelles sans souhaiter s’y attarder Franz Liszt pourrait également avoir nist and music teacher Isidor Philipp. davantage. Il finit pourtant par y reve­ constitué une source d’inspiration, car But the alterations it contains, which are nir plus tard, notamment avec les Pré­ en tant que lauréat du prix de Rome, not identified as such, cannot be re gard­ ludes et Études de sa maturité, pariant Debussy avait été pensionnaire de la ed as authentic.
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