CONSIDERATIONS FOR PEDALLING DEBUSSY'S PIANO MUSIC Maria Metaxaki DOCTOR OF MUSICAL ARTS CITY UNIVERSITY DEPARTMENT OF MUSIC March 2005 ALL MISSING PAGES ARE BLANK TABLE OF CONTENTS FIGURES iii LIST OF TABLES AND ........................................................ EXAMPLES iv LIST OF MUSICAL ......................................................... vii ACKNOWLEDGEMENTS ................................................................. viii DECLARATION ...................................................................................................... ABSTRACT ix ..................................................................................... I INTRODUCTION ............................................................................... 1 Piano 'Without Hammers: Pianos in Debussy's Time 7 CHAPTER -The ......... CHAPTER 2- Gamelan Music and the 'Vibrations in the Air ...................... 15 CHAPTER 3- 'Faites Conflance A Votre Oreille': Pedalling Techniques in Debussy's Piano Music 29 ................................................... in Welte Mignon Piano Rolls 57 CHAPTER 4- Debussy's Use of the Pedals the ... Scores: Indications for Pedalling 75 CHAPTER 5- Debussy's .......................... CHAPTER 6- Pedalling in 'La Cath6drale engloutie ................................ 99 BIBLIOGRAPHY 107 ........................................................................... DISCOGRAPHY 113 ............................................................................ APPENDIX 1- Musical Examples 115 ...................................................... APPENDIX 2- Transcriptions Debussy's Welte Recordings 137 of .................. ii LIST OF TABLES AND FIGURES TABLE I 82 ......................................................................................... TABLE 11 82 ....................................................................................... FIGURE I 117 ..................................................................................... FIGURE 2 127 .................................................................................... iii LIST OF MUSICAL EXAMPLES Example 1. From Michael David Schmitz, Oriental Influences in the Piano Music of Claude 1995), 86 116 Debussy (DMA diss., University of Arizona, ......................................... le Piano, bars 81-93 116 Example 2. 'Toccata' from Pour ........................................... Example 3. 'Et la lune descendsur la temple qui fut' from Images Book H, bars 23- 29 117 ......................................................................................... 4. Tagodes' from Estampes,bars 1-9 118 Example .................................................. S. 'Cloches A les feuilles' from Images Book 11,bars 1-5 118 Example travers ................... Example 6. 'Et la lune descendsur la temple qui fut' from Images Book Il, bars 119 7. 'Et la lune descend la Example sur temple qui fut' from Images Book H, bars 28 - 31 120 ......................................................................................... Example 8. Franz Liszt, Piano Concerto No. 1, bars 41-43 and Piano Concerto No. 2, bars 64-66 120 ............................................................................... Example 9. Ta Cathddrale from PrýludesBook 1,bars 3145 121 engloutie' ..................... Example 10. 'Les Collines d' Anacapri' from Prýludes Book I, bars 1-4 121 ..................... Example 11. 'Pour les from Etudes, bars 93-94 121 accords' the ................................... Example 12. 'Voiles' from Priludes Book 1, bars 62-64 122 ........................................ Example 13. 'Brouillards' from Pr9ludesBook II, bars 13-17 122 .................................. Example 14. Brouillards' from PreludesBook 11,bars 3 845 123 .................................. Example 15. Ta interrompue' from Preludes Book 1, bars 19-31 123 sdrdnade .................. Example 16. 'Pour les from the Etudes, bars 57-69 124 octaves' ........................... ....... Example 17. 'Pour les from Etudes, bars 9-12 124 sonorit6s opposdes' the ....................... Example 18. 'Ondine' from PreludesBook II, bars44-45 ...................................... 124 Example 19. 'Voiles' from Priludes Book I, bars49-51 ........................................ 125 Example 20. 'Pour les from Etudes,bars 14 sonorit6sopposdes' the ......................... 125 Example 21. 'Hommage A Pickwick Esq. P.P. M. P.C. ' from Priludes Book 11,bars 1-4.... 125 Example 22. Teux d' from Priludes Book II, bars 89-93 artifice' ............................. 125 iv from Book I, bars 33-35 126 Example 23. 'Voiles' Preludes ......................................... from Etudes, bars 15-16 126 Example 24. 'Pour les arp6gescompos6s' the ....................... bars 126 Example25. Teux d' artifice'from Preludes Book Il, 50-51............................ bars9-12 126 Example26. 'Canope'from Preludes Book Il, ....................................... BookI, bars1-3 127 Example27. 'Refletsdans I' eau'from Images .............................. bars33-35 127 Example28. Toiles' fromPreludes Book I, ........................................ 11,bars 3840 127 Example29. 'Ondine'from Preludes Book ...................................... de Delphes' from Preludes Book I, bars 1-3 128 Example 30. 'Danseuses ........................ fromPreludes Book 11, bars 10-14 128 Example31. Teuillesmortes' ............................ 32. Teux d'artifice'from Preludes Book 11, bars 57-59 128 Example ............................. Example33. Te dansla from 1,bars 9-12 129 vent plaine' PreludesBook ....................... Example34. 'Lesf6es d' bars8-10..... 129 sont exquisesdanseuses' from Preludes Book 11, . les from 129 Example35. 'Pour sixtes' theEtudes, bars 4041 ...................................... Example 36. Ta terrassedes audiencesdu clair de lune' from Preludes Book II, bars 1-2.129 Example 37. 'Des la from Preludes Book I, bars 33-36 130 pas sur neige' ........................ Example 38. Tanope' from Preludes Book 11,bars 30-33 130 ...................................... Example 39. 'Minstrels' from Preludes Book 1, bars 3640 130 .................................... Example 40. 'Danseusesde Delphes' from Preludes Book 1, bars 10-12 130 ..................... Example 41. Te dans la from Preludes Book 1, bars 1-2 131 vent plaine' ........................ Example 42. Ta interrompue' from Preludes Book I, bars 21-30 131 sdr6nade .................. Example 43. 'Les f6es sont d' exquises danseuses'from Preludes Book II, bars 116-127.131 Example 44. 'Pour les from the Eludes, bars 25-26 132 arp6gescomposds' ....................... 45. 'Brouillards' from Preludes Book 11,bars 49-52 Example ................................. 132 Example 46. 'Pour les from the Eludes, bars 1-5 132 accords' ....................................... Example 47. Les f6es sont d' exquisesdanseuses' from Preludes Book II, bars 121-127.. 132 Example 48. 'Pour les from the Eludes, bars 57-58 133 quartes' .................................... V Example 49. 'Pour les from the Etudes, bars 9-12 133 octaves' ..................................... Example 50. Te le d' from Priludes Book 1, bars 42-43 133 qu' a vu vent ouest' ............... Example 51. 'Pour les from Etudes,bars 80-83 octaves' the .................................... 133 Example 52. 'Pour les doigts' from Etudes,bars 67-69 134 cinq the ............................... Example 53. 'Pour les doigts' from Eludes,bars 101-102 cinq the ............................ 134 Example 54. 'Voiles from PrýludesBook I, bars41-44 ......................................... 134 Example 55. 'Les Collinesd' Anacapri' from Prdudes Book 1,bars 80-82 134 .................. Example 56. Te le d' from Prýludes Book I, bars 76-79 135 qu' a vu vent ouest' ............... Example 57. Ta Cathddraleengloutie' from Priludes Book I, bars 26-30 135 ................... Example 58. 'Pour les octaves' from the Eludes, bars 113-116 135 ............................... Example 59. 'General Lavine-eccentric' from Prýludes Book 11,bars 62-66 135 ................ Example 60. 'Pour les quartes' from the Eludes, bars 61-63 136 .................................... Example 61. 'Ondine' from Priludes Book II, bars 71-74 136 ...................................... vi ACKNOWLEDGEMENTS Many people have supported me and contributed in bringing this project to completion. I am particularly grateful to my supervisors Dr Annegret Fauser and Anya Suschitzky for their unlimited support, guidance and belief in this project. Special thanks also go to Dr Roy Howat for sharing his expertise and rich insights on Debussy's music. A profound thank you to Denis Condon and Dr John Spencer who generously provided accessto their large collection of piano rolls and pianolas and freely offered pearls from their knowledge on piano roll recordings. I am also very grateful to the Costopoulou Foundation of Greece for their financial support in the early years of my research as well as to City University for awarding me the City of London Bursary which enabled me to receive valuable consultation from eminent pianists and musicologists as well as making feasible my visit to Sydney in order to study Denis Condon's complete collection of the Debussy piano rolls. Finally, I would like to dedicate this document to the memory of my father whose love and advice have stood beside me throughout all my life. vii DECLARATION I grant powers of discretion to the University Librarian to allow this thesis to be This copied in whole or in part without further reference to me. permission