Its fair to say that the Estampes, written in the summer of 1903, mark the first real sign of him bending the piano to his will, in the way he had bent the orchestra in Prlude laprs-midi dun faune, and he seems to have been inspired to some degree by Ravels Jeux deau (Ravel thought so, at least) which had appeared in 1901 and made Lisztian glitter acceptable to French taste.Īlthough the title Estampes is the standard French term for Japanese prints, a more likely source for Pagodes, often thought to reflect Debussys memories of the Javanese gamelan at the 1889 Paris Exhibition, was the next Exhibition of 1900, to which we know Debussy went with the painter Jacques-mile Blanche, specifically to hear these same instruments.Īlthough the piece begins with the traditional five notes of the pentatonic system (familiar to us from Scottish folk tunes, among others), almost immediately Debussy starts colouring the harmony with external notes. His immediate response to such public recognition, paradoxical but typical, was to retreat from anything approaching fame into his private world.
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