Contemporary Classics January 9, 2018 Tribute to Claude Debussy

Tonight we are doing the first of several shows over this year honoring Claude Debussy as 2018 represents the centennial of his death.  As is the theme of this show we are doing works of his composed in the 20^th century, which means some of my favorites such as his String Quartet in G minor, Opus 10 cannot be included as it was written and published in 1893.  However there is a wealth of Debussy works composed in the 20^th century, which can be used on this show.

Tonight we will start with the Images for Orchestra L 122 which is an orchestral work in 3 sections. Debussy had originally intended this set of Images as a two-piano sequel to the first set of Images for solo piano as he described to his publisher in 1905.  However by 1906 he had changed his mind and decided upon an orchestra suite of works.  The three works are really an international tour as well.  For the first part Gigues, Debussy used his memories of England as inspiration for the music and included a bit of the Tyneside folk tune "The Keel Row".  The second part, Iberia, forms a triptych within a triptych and is inspired by Spain and Spanish dances and folk tunes.  Its 3 parts are "Through the streets and the paths" - inspired by rondo form; “The fragrance of the night" - the atmosphere of a fascinating Spanish night and “The morning of a festival day" - a procession of a 'banda de guitarras'.  In the third part of Images for Orchestra is "Round dances of spring" and quotes from two French folk songs.  Here is Images for Orchestra performed by Michael Tilson Thomas & San Francisco Symphony from the album Debussy: Images - Jeux - La plus que lente

Lets keep with Images theme and feature a performance of the first book of Images for solo piano which was completed between 1901 and 1905 and which was the initial inspiration for the Orchestral suite we just played.  This work has 3 parts Reflections in the water, Tribute to Rameau and Movement.   The first movement “Reflections in the water “ is a perfect example of the new tone colours Debussy discovered for the piano in this part of his life, and this would become a tonal pattern which would become known as Debussy.  When you hear these tonal patterns you think immediately “Debussy”. Hommage à Rameau is more subdued. It is a sarabande in a spirit of austerity and seriousness of intention, befitting a tombeau - a piece honoring a memory of a composer. Movement is the most abstract designation of the pieces with an effect of swarming or buzzing or of a whirring wheel.  Movement is built upon a perpetual motion of triplets, creating a near endless and unstoppable torrent of notes throughout almost every measure of the finale.

Here is a performance of  Claude Debussy’s  Images book 1 by pianist Alain Planès from the album Debussy: Children's Corner, Suite Bergamasque, Images

Lets keep with Images theme and feature a performance of the first book of Images for solo piano which was completed between 1901 and 1905 and which was the initial inspiration for the Orchestral suite we just played.  This work has 3 parts Reflections in the water, Tribute to Rameau and Movement.   The first movement “Reflections in the water “ is a perfect example of the new tone colours Debussy discovered for the piano in this part of his life, and this would become a tonal pattern which would become known as Debussy.  When you hear these tonal patterns you think immediately “Debussy”. Hommage à Rameau is more subdued. It is a sarabande in a spirit of austerity and seriousness of intention, befitting a tombeau - a piece honoring a memory of a composer. Movement is the most abstract designation of the pieces with an effect of swarming or buzzing or of a whirring wheel.  Movement is built upon a perpetual motion of triplets, creating a near endless and unstoppable torrent of notes throughout almost every measure of the finale.

Here is a performance of  Claude Debussy’s  Images book 1 by pianist Alain Planès from the album Debussy: Children's Corner, Suite Bergamasque, Images
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Next we have a very interesting work by Claude Debussy his Rhapsodie for alto saxophone and orchestra. 

Many great composers have accepted commissions for new works, and then never managed to bring them to fruition; Debussy was certainly no exception. A composer who found it exceptionally difficult to write anything to order, Debussy found the composition of his Rhapsodie for alto saxophone and orchestra -- which had been requested in 1903 by Elisa Hall, President of the Boston Orchestral Club -- a particularly disagreeable task.

Debussy, who cared little for the instrument and knew almost nothing of its technical capabilities, would not fulfill the commission for the Rhapsodie for several years; indeed, when he did submit his score, it was incomplete and unorchestrated.

In 1905, when Hall performed one of her other commissions in Paris, and Debussy, who was present, later wrote that he thought it ridiculous to see a woman in a pink frock playing on such an ungainly instrument, adding that it was not his desire to perpetuate the spectacle. However, in 1911 Debussy again resumed work on the piece, and finally sent Hall a rough draft of the work.  Uncompleted at the time of Debussy’s death Jean Roger-Ducasse undertook the task of completing the work.  The Rhapsodie was premiered in its completed form on May 11, 1919, conducted by André Caplet and featuring saxophonist Yves Mayeur as soloist.

Here is a performance of Debussy’s Rhapsody for Saxophone and Orchestra performed by saxophonist Marcel Mule with the Philharmonic Orchestra of Paris conducted by Manuel Rosenthal from the album Debussy: Rhapsody for Saxophone and Orchestra, La Mer

Speaking of La Mer,  It was composed between 1903 and 1905.   Initially it was not well received, but soon became one of Debussy's most admired and frequently performed orchestral works. It is in three movements:  "From dawn to noon on the sea" or – very slow – animate little by little (B minor)   "Play of the Waves" – allegro (with a very versatile rhythm) – animated (C sharp minor) "Dialogue between wind and waves" – animated and tumultuous – give up very slightly (C sharp minor)

Here is a performance of La Mer by Boston Symphony Orchestra conducted by Serge Koussevitzky from the album Debussy: Rhapsody for Saxophone and Orchestra, La Mer

  We are going to end tonight’s tribute to Claude Debussy with 4 movements from his Children’s Corner Suite for Piano. I. Doctor Gradus Ad Parnassum   II. Jimbo's Lullaby III. Serenade for the Doll. VI Golliwogg's Cake-Walk.  Here performed by Alain Planès from the album Debussy: Children's Corner, Suite Bergamasque, Images