Page 233 - (DK) The Classical Music Book - Big Ideas Simply Explained

MODERN 1900–1950 231

Orchestra for Prélude à l’après-midi d’un faune
The original orchestra for Debussy’s Woodwind Harps Strings
symphonic poem consisted of woodwinds,
strings, harp, and horns, together creating
a delicate, sensuous sound world.
Solo flute
Percussion

Two other flute parts

2 violin parts Viola
Antique Cymbals
Two oboes Two harps
Brass
Two bassoons

English horn

Four horns Clarinet Cello Double bass

sometimes considered less technical percussion “antique cymbals” Debussy's work premiered in Paris
than other genres, Debussy’s color the latter part of the piece in December 1894, and Stéphane
experimentation with rhythmic with their delicate, bell-like tone. Mallarmé was invited to hear it.
techniques shows that atmosphere The orchestra does, however, have While he had initially opposed the
and technicality can coexist. two harps, which help to create composition of music based on
a more luxuriant sound. Long his poem, Mallarmé came out full
Staging the piece sections use divisi in the strings, of praise, writing to Debussy that it
Debussy’s orchestra is moderately sometimes playing sur la touche— went further “in nostalgia and light,
sized: its only brass instruments over the fingerboard, where the with finesse, uneasiness, and
are four horns, and only two tone is more mellow. richness” than his own work. ■

Debussy and impressionism

The word “impressionism” is lead to numerous possible
controversial when applied to progressions, putting the focus
music. Debussy himself—its on the sensual effect of each
I wasn’t expecting most iconic exponent—railed chord, while obscuring its role in
anything like that! The against it. “I’m attempting the structure that underpins the
music prolongs the emotion ‘something different,’” he wrote piece—just as Monet’s focus on
of my poem and conjures in 1908, “[that] imbeciles call colors and eschewal of lines
up the scenery more impressionism, just about the communicates more about the
vividly than any color. least appropriate term possible.” sense than about the details
Stéphane Mallarmé Despite this, Debussy’s work is of his subject. Both Debussy
as much a musical equivalent and Monet have been called
to Monet as to Mallarmé. His “antirealist,” but for Debussy,
tonally ambiguous harmonies appealing to the very senses
(which do not clearly suggest by which music is heard, was
one particular resolution) could “more real” than realism.

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