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| Composer : | Debussy, Claude (1862 - 1918) | ||||
| Instrumentation : | Harp | ||||
| Style : | Romantic | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Date : | 1894-1901 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 23 Aug 2013 Achille-Claude Debussy (1862 – 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers. His music is noted for its sensory component and frequent eschewing of tonality. Debussy's work usually reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant. Claude Debussy's Préludes are two sets of pieces for solo piano. They are divided into two separate livres, or books, of twelve preludes each. Unlike previous collections of preludes, such as those of J.S. Bach and Chopin, Debussy's do not follow a strict pattern of key signatures. Each book was written in a matter of months, at an unusually fast pace for Debussy. Book one was written between December 1909 and February 1910, and book two between the last months of 1912 and early April 1913. The works in Debussy's second book of Préludes (1910-1913) are similar in intent to those of Book I| (1907-1910). Several of them look ahead to Debussy's later style, in which the composer's earlier impressionistic, almost Romantic poetry was supplanted by a greater concentration upon technique and neoclassical objectivity. In addition, perhaps because Debussy's style is so prone to mannerism, several of the Préludes in Book II bear strong similarities to those from the earlier set. Claude Debussy began his three movement piano suite, Pour le piano, L. 95, around 1896 and completed it in 1903. There was a great deal of evolution in the composer's style during these years; his songs and orchestral writing had become wholly unique. It was not until this late date in his career (he was in his late thirties when he began this suite) that Debussy chose to incorporate the idiomatic challenges of the piano into his personal vocabulary. Looking at the whole of his output, with such piano masterpieces as Estampes and his etudes to his credit, it is difficult to imagine why it took so long for the composer to begin writing great piano music. The suite's finale is a Toccata that is poised and energetic, extroverted and graceful. Performers will find it daunting and enlightening. Demanding unflappable technique and poise, it concludes the suite admirably with the message that Debussy has mastered the piano's unique language on his own terms. Although originally written for Piano, I created this arrangement for Concert (Pedal) Harp. Sheet central : | Pour le piano (5 sheet music) | | |||
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