Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he himself disliked the term when applied to his compositions. Analyse Musicale in French 12 : 15—62. The last was also dropped, as too reminiscent of ballet, and the less specific theme of the dialogue between the wind and the sea took its place. He was made Chevalier of the Legion of Honour in his native France in 1903. Since then, orchestras and conductors from around the world have set it down in studio or live concert recordings. It was initially not well received; even some who had been strong supporters of Debussy's work were unenthusiastic. The movement ends with one of the most striking of the composer's musical affirmations: In an enigmatic gesture, the final forte-fortissimo brass attack dies away to piano as the movement draws to a close.
Debussy conceived the idea of a more complex tripartite orchestral piece, and began work in August 1903. Cover of 1905 edition of score, based on La mer, trois esquisses symphoniques pour orchestre French for The sea, three symphonic sketches for orchestra , or simply La mer i. The author, musicologist and pianist has observed, in his book Debussy in Proportion, that the formal boundaries of La mer correspond exactly to the mathematical ratios called The. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant. The Sea , 109, is an orchestral composition by the French composer. La Mer, however, goes a great deal farther than any previous work -- by Debussy or any other composer -- in capturing the raw essence of this most evocative of nature's faces. Debussy in Proportion: A Musical Analysis.
La Mer has lots of quiet sections, showing off different instruments. Description La mer, trois esquisses symphoniques pour orchestre French for The sea, three symphonic sketches for orchestra , or simply La mer i. Although some of Debussy's contemporaries drew analogies between La mer and paintings — much to the composer's irritation — others have detected the influence of his admiration for the English painter ; and Debussy's choice of 's for the cover of the printed score indicates the influence of Japanese art on him. The scoring of this passage solo flute and harp harmonics recalls the identical orchestration as used by the composer at the end of Prélude à l'après-midi d'un faune Prelude to the Afternoon of a Faun; 1894 , Indeed, these parallel passages are quite similiar in dramatic purpose. Très lent - Modéré, sans lenteur 2. As in so much of the composer's mature music, it is not always possible to draw a clear distinction between thematic material and accompaniment and texture.
It consists of two powerful outer movements framing a lighter, faster piece which acts as a type of. The Grand Hotel, Eastbourne where La mer was completed in 1905. Jeux de vagues Play of the waves. This extraordinary work, full of light and shimmering shapes and colors, is published here in full score with bar-numbered movements. Of the many recordings available, a comparative survey for 2018 recommended a short list of five, those by the and ; the and Boulez; the Berlin Philharmonic and ; the and , and — its top recommendation — the conducted by. If you continue to see this message, your security software is interfering with your browser.
The Prix de Rome was a competition for a scholarship for art students founded in 1663 in France. He was made Chevalier of the Legion of Honour in his native France in 1903. Frequent trills and bursts of rhythmic vitality vividly bring to life the movement's frolicsome, unpredictable subject matter, while the extremely quiet ending purposely fails to resolve any of the musical expectations set out in the preceding, more active sections. La Mer is no mere exercise in musical scene-painting, but rather a sonic representation of the myriad thoughts, moods, and basic instinctual reactions the sea draws from an individual human soul. Sviatoslav Richter: Notebooks and Conversations. The Cambridge Companion to Debussy.
Claude Debussy - La Mer, symphonic sketches 3 for orchestra, L. Well known recordings from the era include those by the and Toscanini, and the on recordings conducted by and. The aim was to evoke a mood or feeling, to blur strict lines and form and replace with an impression. The Cambridge Companion to Debussy. Chevillard was a respected interpreter of the classics, but was not at home with new music. And each time is like the first time! Sirènes, the third of the Nocturnes 1897-1999 , and passages from the opera Pelléas et Mélisande 1893-1905 at once bear testament to a certain nautical bent. Like the great British painter J.
An enigma, a miracle of natural reproduction; no, even more than that, sheer magic! Debussy's music is noted for its sensory content and frequent usage of non-traditional tonalities. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. The Penguin Guide to Recorded Classical Music. La Mer is no mere exercise in musical scene-painting, but rather a sonic representation of the myriad thoughts, moods, and basic instinctual reactions the sea draws from an individual human soul. Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he himself disliked the term when applied to his compositions.
Turner, who stared at the sea for hours and then went inside to paint, Debussy worked from memory. There are passages during which the rhythmic and metric scheme is obscured, perhaps intentionally so, by as many as six or seven different layers of simultaneous activity. The first, the , was premiered in Paris in 1901, and though it had not made any great impact with the public it was well reviewed by musicians including , and. Piero Coppola's second recording plays for less than 21 minutes, and a recording of a performance under , issued by in 2003, plays for a total of 33 minutes and 11 seconds. A sustained forte-fortissimo brings this violent, elemental work to a powerful close.