Claude Debussy (1862-1918) was a French impressionist composer during the turn-of-the-century. Debussy’s Nocturnes: No. 1, Nuages (clouds) incorporates the use of impressionist art, post-tonality, timber with motive, and experimentation with multiple scale types. Debussy was able to combine aspects of Javanese Gamelan, Russian, and French Baroque music in order to counteract the dominance of German music and allow for greater musical independence. Claude Debussy grew up in Paris and was taught piano and composition at the Paris conservatory. He began composing in 1879 and worked with Nadezhda von Meck, Tchaikovsky’s patron. In 1888, he traveled to Bayreuth to listen to a Wagner opera, and realized the power of his music and his need to avoid …show more content…
He dew from the French tradition, “a preference for sensibility, taste, and restraint, admiring particular his older contemporary Charbrier.” (791) Debussy stayed away from the Romantic style of expressing emotions, and instead focused on evoking a certain mood, feeling, atmosphere, or scene. This style of composition is often called impressionist and closely resembles that of the impressionist painters and poets. He was able to create these musical images through “motives, harmony, exotic scales, instrumental timbre, and other elements, and then composes by juxtaposing them.” (791) Instead of using traditional devices and tonality, he used changes in timbre and texture. Nocturnes: No. 1, Nuages premiered in 1901, and demonstrates Debussy’s use of unique orchestration, Asian scales, post-tonality, and dance influence. The title Nocturnes was borrowed from a set of impressionist paintings by James McNeill Whistler. The piece was intended to suggest scenes of mystery, clouds, festivals, and sirens. Debussy cared less about tradition form in the sense of exposition, development, and recap, and instead created, “a kind of musical experience that seems almost visual.” …show more content…
The A section is from measures 1-63 and is un-proportionally longer than the other two sections. The contrasting section is from measure 64-79 and uses the pentatonic scale to create an Asian sound. The other A section serves as a very small recap. However, some musicologist analyze this piece in rotational form. James Hepokoski defines a rotational form as music that, “cycles through a series of varied statements of the basic musical material.” (52) In this piece four rotations are each defined with the beginning of a variation on the opening cloud figure and end with the motive in the English horn. The primary tone in Nuages is B; however, there is no actual tonal center. In Debussy’s compositions, chords serve to generate individual musical images. Instead or shaping phrases, “each chord is conceived as a sonorous unit in a phrase whose structure is determined more by melodic shape or color than by harmonic movement.”
Depending on which piece of the collection is viewed, vertical parallel or horizontal lines varying in weight stretch across the composition. The vertical lines give Germaux’s piece a strong and stable feel, whereas the horizontal lines provide a more calming feel for the viewer. The repetition of parallel lines in Parallel Play creates beauty through dissimilarity. The predictable order of the parallel lines contrasts the stir of circles located adjacent and causes the lines to beautifully model simplicity and structure. In addition, by painting dark contour lines around the colorful circles, Germaux is able to aid the viewer in distinguishing the individual circles and identifying the beautiful pattern that they
Two leader composers from Renaissance: Dunstable and Du Fay. During the Renaissance courts and churches were highly concerned in arts, and they hired composers and musicians with the purpose to write music and to entertain. Musicians were constantly moving along different courts, trying to find the best salary. This exchange allowed them to learn new styles and genres.
Bookshelves with books everywhere about music and the arts, a desk with papers and papers galore, and a small figurine with a mask. I thought, “Just play in the moment with no boundaries.” The first song, Chopin’s Waltz in A flat Major Op.69 No.1, had a melancholy feel, and then slowly my fingers flew on the keys with a true waltz-like beat. The second song, Debussy’s Arabesque No.1, had a different style than the waltz. It had to be meticulously thought out, yet the hands had to look graceful and flawless with every movement.
Some of the other composers during this period are overpowering in the dynamics, rhythm, and tempo. Debussy’s music is more subtle. The piece of music I chose for the quite approachable is “Afro-American Symphony, IV” by William Still. Still’s work was quite approachable because his music related to so many people because of the subjects he chose. His music had this easy to listen to presence.
GENERAL REMARKS: • Throughout the movement Brahms uses quotations of the F-A-F motif excessively, in various parts and contexts, sometimes in obvious or not so obvious ways. • An interesting aspect of this movement regarding harmony, is the persistent use of the interval of the Third (Major and minor) as means of modulations or harmonic
The strict however commendable employment of components is evident in the concert poster for the Tonhalle Gesellschaft Zurich of 1955. The dissection of the poster as being without any ink and just being a compositional drawing, one can see the structural image coming into place. The poster comprises vertical as well as horizontal lines, roughly, on a thirty to forty five degree angle. This particular angle leads to a certain sense of movement that suggests musical breath or musical chords. This execution can been seen on numerous levels: the musical development of the vertical and even lines against the 30 degree pivot, the inwards junction of components using this central axis , the figure-ground relationship of the components, the utilization of complexity through changing components,
Although this is somewhat long duration compared to other music that listened before, the segment of the piece is played repeatedly so that I used to observe this music. The pinches in this work are unfamiliar to the audiences because they are not standard chromatic scale, which is equal temperament. The unique tuning system and the performance style increase the tension of the
This piece consisted of two different movements. The second part of it was a lot more allegro, upbeat, and energized. It symbolized the eternal love that no one, not even a powerful king, could take away. The whole orchestra had more active roles and a polyphonic texture. Together they made a beautiful
INTRODUCTION Debussy and his love for the mysterious realm of the antique are epitomized in his piano duets Six Épigraphes Antiques. The work evolved over an extended period to become a prime example of his style of composition. The poems Chansons de Bilitis written by his close friend Pierre Louÿs (1894) inspired Debussy to compose firstly Trois Chansons de Bilitis (1898) three songs for soprano and piano, then Chansons de Bilitis (1901) instrumental music to accompany the reading of a selection of Pierre Louÿs poems, and finally Six Épigraphes Antiques (1914) for piano four hands and eventually reduction for solo piano. These works contribute to a musical language that continues to influence and shape music today. Debussy was originally
Schubert’s No. 11 Frühlingstraum from Winterreise Hello friends, and welcome to my blog! Today, I will be sharing with you guys a really nice art song by romantic composer, Franz Schubert. Schubert’s Winterreise (Winter Journey), published in 1828, is a song cycle of 24 movements for voice and piano.
The varied witches’ dance is imitated by bassoons, horn punctuations that are followed by the low string section with a mezzo-piano dynamic and in the brass section the chant of Dies irae (Kamien, 2014: 299). The fugue theme of the witches’ dance is introduction by the lower strings and then imitated
Claude Debussy was a stout Wagnerian earlier in his life but he later changed his view to a more anti-Wagnerian one. I argue that while Debussy resisted Wagner’s theory of opera, his use of the orchestra, and his operatic practice, we can still see Wagner’s influence on Pélleas et Mélisande through the similarities of the opera’s plot line, the use of symbolism, and symphonic developments. I will discover the reasons behind these questions by researching various books, journal articles and scores to find out the
Debussy broke the mold so to speak in the 20th century of music by breaking away from the typical German style laid out by composers such as Beethoven as he often explored dreamy and distant sound worlds in an effort to stand out amongst his earlier peers of the classical period. He began to be drawn to the sounds of the pentatonic scales, whole tone scale, and sounds otherwise known in Asia as his music in comparison often contained a rather circular motion which broke away from the formers heroic cadential style of resolution. This breaks his music away as his was more of an ambient and distant much like the impressionist art movement happening at the same time being led by the likes of Monet and Van Gough. The Sunken Cathedral by Debussy exhibits many traits of the new impressionistic forum of 20th century composers as he exhibits many methods to place the listener into a dream-like state using melodic variation and connectivity amongst voice leading in order to achieve a watery type effect. This effect makes the listener feel as if they are floating along with the piece itself as he adds complexities to the music with the slow harmonic variation throughout the piece.
In Edvard Grieg’s “Morning Mood”, a well-recognized piece of classical music, a flute is the first instrument one hears. The beautiful whistle of the flute’s first note strikes a high A, played softly, and the softness continues as the flute travels down the scale, only to play a C and make its way, legato, back up to an A (Morning Mood: Peer Gynt No.1). As the piece continues, violins, cellos, oboes, and many other instruments are softly introduced to complement the flute’s high and quiet notes. It is only when the flute crescendos in the middle of the piece that the other instruments follow along. This continues Grieg’s trend, on this track, of forming the other instrument’s parts around the flute.
First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.