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''Nocturnes'', L 98 (also known as ''Trois Nocturnes'' or Three Nocturnes) is an
Based on comments in various Debussy letters and in Léon Vallas's biography, it has generally been assumed that composition of the ''Nocturnes'' began in 1892 under the title ''Trois Scènes au Crépuscule'' ("Three Scenes at Twilight"), an orchestral triptych. However, the lack of actual manuscripts makes it impossible to determine whether such works were truly related to the ''Nocturnes''.
''Trois Scènes au Crépuscule'' was inspired by ten poems by Henri de Régnier entitled ''Poèmes anciens et romanesques'' (published in 1890). Régnier was a symbolist poet, and his poems contain vivid imagery and dreamlike associations of ideas. In a letter to Jacques Durand (publisher), Jacques Durand on 3 September 1907, Debussy writes "I am more and more convinced that music, by its very nature, is something that cannot be cast into a traditional and fixed form. It is made up of colors and rhythms"; he found suitable material in the imagery of these poems.
Debussy may have begun creating the work for an intended performance in New York City, promoted and sponsored by Prince André Poniatowski, a banker and writer, and a confidant to whom Debussy frequently expressed himself in long letters. The New York performance was to consist of the premiere of Debussy's Fantaisie for piano and orchestra (Debussy), ''Fantaisie'' for piano and orchestra completed two years earlier, a rather traditional work in classical form but a tradition which Debussy in the next two years would reject and musically move away from (resulting in the ''Fantaisie'' never being performed or published in his lifetime); his experimental oratorio ''La Damoiselle élue'', from four years prior, also still unperformed as yet; and the ''Twilight Scenes'', which Debussy told the prince were "pretty much finished" even though he hadn't put anything on paper yet. The American concert deal fell through.
Debussy was already working with difficulty on his opera ''Rodrigue et Chimène'', a biography of ''El Cid''; it has been said that he eventually destroyed its complete score because he felt he could no longer write "that kind of music" to "that kind of literature", but his biographer says he merely concealed them and they remained in private collections.
He was also working on another orchestral triptych after a cycle of three poems by another symbolist poet, Stéphane Mallarmé, called ''L'après-midi d'un faune (poem), L'après-midi d'un faune'', that was more in keeping with the new style of music and inspiration Debussy was seeking. He had in fact asked Henri de Régnier, a close associate of Mallarmé, to inform the latter of his interest in setting the poems to a new kind of musical impression. Mallarmé was vehemently opposed to juxtaposing poetry and music and was strongly against Debussy's compositional idea. After Mallarmé heard the completed ''Prélude'' based on his first poem, however, Debussy had evidently caused him to completely reverse his belief, as he expressed his astonishment in lavishing praise and admiration in a personal letter to the composer.
Meanwhile, Debussy's ''Scènes au Crépuscule'', after Régnier's poetry, were completed in piano score in 1893, but before Debussy had a chance to orchestrate them he attended the premiere performance of his String Quartet (Debussy), String Quartet in G minor in December, given by the Ysaÿe Quartet (1886), Ysaÿe Quartet led by Belgian violin virtuoso Eugène Ysaÿe. Debussy was impressed and flattered by Ysaÿe's interest in his music and decided to rewrite his ''Twilight Scenes'' into a piece for solo violin and orchestra.
In 1894, after completing the first movement of his Mallarmé triptych entitled ''Prélude à l'après-midi d'un faune, Prélude'' (to "The Afternoon of a Faun"), he began the recomposition of the ''Twilight Scenes'' in a new inspired style, retitling the new version ''Nocturnes'' after a series of paintings of the same name by James Abbott McNeill Whistler, who was living in Paris at the time.
In September he described the music to Ysaÿe as "an experiment in the different combinations that can be achieved with one colour—what a study in grey would be in painting". Whistler's most famous painting was a portrait of his mother called ''Arrangement in Grey and Black No. 1''. Debussy scored the orchestral part of the first of the three pieces for strings alone; the second for three flutes, four horns, three trumpets, and two harps; and the third for the two groupings together. The first version of the ''Nocturnes'' seems to be the one described; he later abandoned the idea of the solo violin arrangement when he was unable to get Ysaÿe to undertake the performance.
Following the abandonment of ''Rodrigue et Chimène'' in 1893, Debussy had immediately begun work on an opera more to his liking, ''Pelléas et Mélisande (opera), Pelléas et Mélisande'', which occupied him with no small measure of trouble over the next nine years, until it premiered on 30 April 1902. Thus it wasn't until 1896 that he informed Ysaÿe that the music for the ''Nocturnes'' had pretty much been completed and he still wanted Ysaÿe to perform the solo violin part.
By 1897, Debussy had decided to dispense with a solo violin part and the orchestral groupings, and simply write all three movements for a full orchestra. He worked for the next two years on the ''Nocturnes'', and once confessed to his friend and benefactor, the publisher Georges Hartmann, that he was finding it more difficult to compose these three orchestral nocturnes than a five-act opera. Wanting to equal the sensation caused by the success of "The Afternoon of a Faun" piece, he drove himself toward an over-perfectionism with the ''Nocturnes''. Having worked on the composition for as long as seven years, constantly revising it and changing its very structure several times, he expected it to live up to his own grand, avant-garde views:
The tempo markings are "Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent."
According to Debussy, "'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. Biographer Léon Vallas recorded Debussy's comments on the genesis of this piece:
The tempo markings are "Animé et très rythmé – Un peu plus animé – Modéré mais toujours très rythmé – Tempo I – De plus en plus sonore et en serrant le mouvement – Même Mouvement."
According to Debussy:
Léon Vallas, in his biography, continues:
YouTube
- Pierre Boulez, Vienna Philharmonic, Vienna State Opera Chorus (Salzburg Festival, August 30, 1992)
YouTube
- Mikko Franck, Orchestre Philharmonique de Radio France, Chœur de Radio France, Maîtrise de Radio France (September 15, 2017) {{authority control Compositions by Claude Debussy Suites by Claude Debussy 1899 compositions Compositions for symphony orchestra Nocturnes, Debussy Orchestral suites Music based on poems
impressionist
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage ...
orchestral composition in three Movement (music), movements by the French composer Claude Debussy, who wrote it between 1892 and 1899. It is based on poems from ''Poèmes anciens et romanesques'' (Henri de Régnier, 1890).
Composition
"Three Scenes at Twilight"
Based on comments in various Debussy letters and in Léon Vallas's biography, it has generally been assumed that composition of the ''Nocturnes'' began in 1892 under the title ''Trois Scènes au Crépuscule'' ("Three Scenes at Twilight"), an orchestral triptych. However, the lack of actual manuscripts makes it impossible to determine whether such works were truly related to the ''Nocturnes''.
''Trois Scènes au Crépuscule'' was inspired by ten poems by Henri de Régnier entitled ''Poèmes anciens et romanesques'' (published in 1890). Régnier was a symbolist poet, and his poems contain vivid imagery and dreamlike associations of ideas. In a letter to Jacques Durand (publisher), Jacques Durand on 3 September 1907, Debussy writes "I am more and more convinced that music, by its very nature, is something that cannot be cast into a traditional and fixed form. It is made up of colors and rhythms"; he found suitable material in the imagery of these poems.
Debussy may have begun creating the work for an intended performance in New York City, promoted and sponsored by Prince André Poniatowski, a banker and writer, and a confidant to whom Debussy frequently expressed himself in long letters. The New York performance was to consist of the premiere of Debussy's Fantaisie for piano and orchestra (Debussy), ''Fantaisie'' for piano and orchestra completed two years earlier, a rather traditional work in classical form but a tradition which Debussy in the next two years would reject and musically move away from (resulting in the ''Fantaisie'' never being performed or published in his lifetime); his experimental oratorio ''La Damoiselle élue'', from four years prior, also still unperformed as yet; and the ''Twilight Scenes'', which Debussy told the prince were "pretty much finished" even though he hadn't put anything on paper yet. The American concert deal fell through.
Debussy was already working with difficulty on his opera ''Rodrigue et Chimène'', a biography of ''El Cid''; it has been said that he eventually destroyed its complete score because he felt he could no longer write "that kind of music" to "that kind of literature", but his biographer says he merely concealed them and they remained in private collections.
He was also working on another orchestral triptych after a cycle of three poems by another symbolist poet, Stéphane Mallarmé, called ''L'après-midi d'un faune (poem), L'après-midi d'un faune'', that was more in keeping with the new style of music and inspiration Debussy was seeking. He had in fact asked Henri de Régnier, a close associate of Mallarmé, to inform the latter of his interest in setting the poems to a new kind of musical impression. Mallarmé was vehemently opposed to juxtaposing poetry and music and was strongly against Debussy's compositional idea. After Mallarmé heard the completed ''Prélude'' based on his first poem, however, Debussy had evidently caused him to completely reverse his belief, as he expressed his astonishment in lavishing praise and admiration in a personal letter to the composer.
Three Nocturnes for solo violin and partitioned orchestra
Meanwhile, Debussy's ''Scènes au Crépuscule'', after Régnier's poetry, were completed in piano score in 1893, but before Debussy had a chance to orchestrate them he attended the premiere performance of his String Quartet (Debussy), String Quartet in G minor in December, given by the Ysaÿe Quartet (1886), Ysaÿe Quartet led by Belgian violin virtuoso Eugène Ysaÿe. Debussy was impressed and flattered by Ysaÿe's interest in his music and decided to rewrite his ''Twilight Scenes'' into a piece for solo violin and orchestra.
In 1894, after completing the first movement of his Mallarmé triptych entitled ''Prélude à l'après-midi d'un faune, Prélude'' (to "The Afternoon of a Faun"), he began the recomposition of the ''Twilight Scenes'' in a new inspired style, retitling the new version ''Nocturnes'' after a series of paintings of the same name by James Abbott McNeill Whistler, who was living in Paris at the time.
In September he described the music to Ysaÿe as "an experiment in the different combinations that can be achieved with one colour—what a study in grey would be in painting". Whistler's most famous painting was a portrait of his mother called ''Arrangement in Grey and Black No. 1''. Debussy scored the orchestral part of the first of the three pieces for strings alone; the second for three flutes, four horns, three trumpets, and two harps; and the third for the two groupings together. The first version of the ''Nocturnes'' seems to be the one described; he later abandoned the idea of the solo violin arrangement when he was unable to get Ysaÿe to undertake the performance.
Following the abandonment of ''Rodrigue et Chimène'' in 1893, Debussy had immediately begun work on an opera more to his liking, ''Pelléas et Mélisande (opera), Pelléas et Mélisande'', which occupied him with no small measure of trouble over the next nine years, until it premiered on 30 April 1902. Thus it wasn't until 1896 that he informed Ysaÿe that the music for the ''Nocturnes'' had pretty much been completed and he still wanted Ysaÿe to perform the solo violin part.
By 1897, Debussy had decided to dispense with a solo violin part and the orchestral groupings, and simply write all three movements for a full orchestra. He worked for the next two years on the ''Nocturnes'', and once confessed to his friend and benefactor, the publisher Georges Hartmann, that he was finding it more difficult to compose these three orchestral nocturnes than a five-act opera. Wanting to equal the sensation caused by the success of "The Afternoon of a Faun" piece, he drove himself toward an over-perfectionism with the ''Nocturnes''. Having worked on the composition for as long as seven years, constantly revising it and changing its very structure several times, he expected it to live up to his own grand, avant-garde views:
Completion and further revision
A full score of the manuscript of the ''Nocturnes'' was signed with the completion date of 15 December 1899. The manuscript bears a dedication to Georges Hartmann, who helped to support Debussy financially beginning in 1894. It was published under contract to Hartmann's publisher, under the Eugène Fromont imprint in 1900. This printed score contained dozens of errors. The first two movements, ''Nuages'' and ''Fêtes'', received their premiere on 9 December 1900 in Paris by the Lamoureux Orchestra conducted by Camille Chevillard. The third movement ''Sirènes'' could not be staged because the female choir needed for it was unavailable. The complete work was premiered by the same orchestra and conductor on 27 October 1901. Though these initial performances received a cool response from the public, they were more positively hailed by fellow musicians. A review by Pierre de Bréville in the ''Mercure de France'' has been translated as saying: "It is pure music, conceived beyond the limits of reality, in the world of dreams, among the ever-moving architecture that God builds with mists, the marvelous creations of the impalpable realms." For several years after its publication, almost until the day he died, Debussy continued to tinker with the composition, at first making corrections to dozens of errors in his copy of the published score, then moving on to adjusting small passages and fundamentally revising the orchestration. Debussy made many subtle changes to ''Sirènes'' to integrate the wordless singing of the women's chorus with the orchestra. Two of these scores exist with Debussy's changes in different colors of pencils and inks, and often these changes are contradictory or simply alternate versions. As Debussy told conductor Ernest Ansermet when the latter asked which were the right ones: "I'm not really sure; they are all possibilities. Take this score with you and use whatever you like from it." Debussy continued to modify the composition just as he had for the seven years prior to its publication, sometimes just not satisfied or sometimes thinking of a new experiment in sound, a new color combination of instrumental timbres he hadn't heard yet. Many of these changes were finally incorporated into a "definitive version" published in 1930 by Jobert. This version continues to be performed today. A comprehensive version addressing many more of Debussy's "possibilities" was published in 1999 by Durand, edited and annotated by Denis Herlin. One reviewer states "in this new critical edition for the Debussy ''oeuvres complètes'', all of the most important questions concerning the establishment of a text of the ''Nocturnes'' for practical performance have been confidently answered." Herlin has carefully traced and analyzed four printings of the ''Nocturnes'' by Fromont, ending in 1922; multiple scores by Jean Jobert between 1922 and 1930; multiple versions of a heavily revised Jobert score appearing between 1930 and 1964; a 1977 edition by Peters of Leipzig; and a study score from Durand. The ''Nocturnes'' were performed as a ballet in May 1913, with Loie Fuller dancing. The ''Nocturnes'' are considered one of Debussy's most accessible and popular works, admired for their beauty and for holding new possibilities and wonder upon repeated hearings.Instrumentation
The piece has the following instrumentation. ;Woodwind instrument, Woodwinds : 3 flutes : 2 oboes : 1 cor anglais : 2 clarinets : 3 bassoons ;Brass instrument, Brass : 4 French horn, horns in F : 3 trumpets in F : 3 trombones : 1 tuba ;Percussion section, Percussion : timpani : cymbals : snare drum ;Vocal type, Voices : women's choir, women's chorus (3rd movement only) ;string instrument, Strings : 2 harps : 1st violins : 2nd violins : violas : cellos : double bassesMusic
There are three movement (music), movements, each with a descriptive title. The entire work lasts approximately 25 minutes. Debussy wrote an "introductory note" to the ''Nocturnes'' and each of the individual movements, printed in the programme for the first complete performance in 1901: "The title 'Nocturnes' is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests."I. ''Nuages''
The tempo markings are "Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent."
According to Debussy, "'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. Biographer Léon Vallas recorded Debussy's comments on the genesis of this piece:
II. ''Fêtes''
The tempo markings are "Animé et très rythmé – Un peu plus animé – Modéré mais toujours très rythmé – Tempo I – De plus en plus sonore et en serrant le mouvement – Même Mouvement."
According to Debussy:
Léon Vallas, in his biography, continues:
III. ''Sirènes''
The tempo markings are "Modérément animé – Un peu plus lent – En animant surtout dans l'expression – Revenir progressivement au Tempo I – En augmentant peu à peu – Tempo I – Plus lent et en retenant jusqu'à la fin." According to Debussy, "'Sirènes' depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Siren (mythology), Sirens as they laugh and pass on.Whistler and Debussy
The title, ''Nocturnes'', refers not to Nocturne, the musical tradition of the same name but to the "Nocturne painting, nocturne" paintings of James Abbott McNeill Whistler, Whistler, who in turn had borrowed the term from music. Debussy's description of the ''Sirens'' movement reminded his biographer Léon Vallas of Whistler's "Harmonies in blue and silver". Vallas noted that Whistler "was a favourite with Debussy, and their art has often been compared." The two were mutual influences, with Whistler borrowing from musical vocabulary to name his pictures, while Debussy did something similar in reverse.Arrangements
The complete work was transcribed in 1910 for two pianos by Maurice Ravel and Raoul Bardac (Debussy's pupil and stepson), and was first performed in 1911. ''Fêtes'' was arranged for solo piano by the English pianist Leonard Borwick, and the arrangement has been recorded by Emil Gilels, among others. ''Fêtes'' has also been transcribed for large symphonic wind ensemble by Merlin Patterson and William Schaefer.References
External links
*YouTube
- Pierre Boulez, Vienna Philharmonic, Vienna State Opera Chorus (Salzburg Festival, August 30, 1992)
YouTube
- Mikko Franck, Orchestre Philharmonique de Radio France, Chœur de Radio France, Maîtrise de Radio France (September 15, 2017) {{authority control Compositions by Claude Debussy Suites by Claude Debussy 1899 compositions Compositions for symphony orchestra Nocturnes, Debussy Orchestral suites Music based on poems