He died less than five years later, on March 25, 1918. Debussy writes Commencer lentement dans un rythme nonchalamment gracieux at the beginning, but later Tres rythmé in a brightly lit A major as the dance comes out of the shadows, ff , with the click of castanets and the stamping of feet.ĭebussy was 52-years-old and suffering from cancer when he made his piano roll recordings. It insinuates itself into our consciousness with its quiet insistence on a repeated C sharp in different registers around it circles a languid, Moorish arabesque, with nasal augmented 2nds, and a nagging semitone pulling against the tonal centre, occasionally interrupted by muttering semiquavers and a whole-tone based passage. “La soirée dans Grenade” is described by Christine Stevenson at Notes From a Pianist as a “sound picture” of Moorish Spain:ĭebussy’s first-hand experience of Spain was negligible at that time, but he immediately conjures up the country by using the persuasive Habenera dance rhythm to open the piece–softly and subtly. Hence, each work featured in this project becomes a glimpse into time, a window into a specific period or moment in the composer’s life.The selection above is “La soirée dans Grenade” (“Grenada in the evening”), from Debussy’s 1903 trio of compositions titled Estampes, or “Prints.” Debussy was inspired by the Symbolist poets and Impressionist painters who strove to go beyond the surface of a subject to evoke the feeling it gave off. His existence-rich in turmoil and emotions-is fascinating, and is a testament to numerous difficult situations that can be compared with the challenges one may experience in contemporary society. This program deliberately spans the near-entirety of Debussy’s lifetime, covering a wide range of styles and inspirations associated with him. At times intimate, at times grandiose, the evocative power of these compositions is inevitably altered, as they not only recount their own stories, but also reflect the relationship between the musicians imparting them. Adapting a solo-instrument work for a chamber duet can be a transformative experience, allowing Debussy’s music to speak differently. Additionally, to reimagine the auditory vocabulary in the compositions proposed here, the cello explores glissando techniques, as well as pizzicati and harmonics. The cello, a contrasting but complementary ally to the piano, is able to sustain notes without losing intensity, and can vibrate and colour the intonation of each note. Our arrangements were created in this very train of thought: our goal is to amplify and extrapolate atmospheres already suggested in Debussy’s compositions. With the arrangement techniques showcased in this recording, one can only imagine the new colours and textures Debussy would have invented through combining them with the rich sonic potential of the instrument. These somewhat forgotten opuses are veritable gems of composition and ingenuity even individually, they effortlessly evoke Debussy’s grandeur, attesting to the genius he was.Ĭlaude Debussy’s Cello Sonata, an unquestioned masterpiece of chamber music, is a remarkable contribution to the repertoire for the cello. We specifically chose to arrange a selection of Debussy’s works for piano (or two pianos), generally reserved for rare full-cycle performances. These words by Claude Debussy perfectly encapsulate the essence of Images oubliées: an intimate project in which our voices as artists make their way through the composer’s work, creating a rich palette of colours.
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