The opening flute motif is of indefinite key, moving chromatically and based around a tritone. The slowest of all recordings — 33 minutes. Wagner, said Debussy, was a wonderful sunset that had been mistaken for a dawn.
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Pierre Boulez calls the result "an infinitely flexible conception of acoustical instrumental relationships" that avoided symmetry, "a development conceived in feelings and irreducible to a formal classical plan.
Chromaticism features too — note the motifs in thirds in the winds, violas and cellos in bars The stylization of nature in Japanese landscape prints one of which, Hokusai's "The Hollow of the Wave off Kanagawa," he had in his studio and a portion of which graced the cover of the La Mer score.
Content of First Movement It is notable that parameters become blurred with Debussy: Yet, his approach is conveyed by Arturo Toscaniniwho in became one of the first conductors to program La Mer and for whom it became a favorite work, as he played it during his American years more often than any other composition, including his famed Beethoven and Brahms.
During his stay in Cannes, the seven-year-old Debussy had his first piano lessons; his aunt paid for him to study with an Italian musician, Jean Cerutti. The key signature of much of the first movement is also D flat, although it is used in the context of frequently ambiguous harmonies, often using modes and exotic scales.
These tonalities are juxtaposed with a general lack of cadences and changes are sudden rather than prepared in any way, creating a harmonic language where the traditional tension-resolution mechanism of harmonic progression is rejected in favour of an alternative language.
Lily shot herself, nearly all his friends turned against him, and society recoiled to uphold its standards of decency. This adds to the ambiguity: With elements from the first movement reappearing in the last, the work is unified, therefore suggesting the influence of the symphony.
La Mer was more evocative and less literal, perhaps in part because Debussy wrote it in landlocked Burgundy, distilling memories of his childhood and holidays at the shore into an intense vision of the essence of the sea rather than a mere portrait.
The first begins in inchoate mystery, the second suggests lively motion, and the third conjures the interplay of powerful forces.
Harmony often uses tension-resolution devices such as the cadence, but also has passages where tonality is made ambiguous through unexpected added notes and chromaticism. La Mer was more evocative and less literal, perhaps in part because Debussy wrote it in landlocked Burgundy, distilling memories of his childhood and holidays at the shore into an intense vision of the essence of the sea rather than a mere portrait.
Others, though, were less enchanted. In his work, as in his personal life, he was anxious to gather experience from every region that the imaginative mind could explore.
The form is a simple ABA with a clear recapitulation of the exposition. Debussy seemed unfazed, responding to one critic that "you love and defend traditions that no longer exist for me.
Jean Chantavonic, while praising its evocative qualities, found it superficial and incoherent. Claude Debussy: Claude Debussy, French composer whose works were a seminal force in the music of the 20th century. He developed a highly original system of harmony and musical structure that expressed in many respects the ideals to which the Impressionist.
Free Essay: Claude Debussy’s La Mer is a very beautiful piece of music. I thought the concert was wonderfully done. The music sent chills down my spine and I. Misc.
Notes Monochrome scans. Marie Rolf in the introduction to the Durand Critical Edition: "The edition of La Mer is the last printed version known to have been sanctioned by Debussy."Authorities: WorldCat; Wikipedia; VIAF: ; LCCN: n; GND: Classical Notes - Classical Classics - Claude Debussy's La Mer, by Peter Gutmann.
Classical record reviews and commentary by a passionate fan. Claude Debussy's rich and evocative depiction of the underwater realm remains an impressionistic milestone, a classic of its type. But what makes La Mer so good? Ever-resistant to the confines of normal practice, impressionist composer Claude Debussy insisted that his La Mer was not a symphony.
No. Achille-Claude Debussy (French: de vagues" section has the function of a symphonic development section leading into the final "Dialogue du vent et de la mer", "a powerful essay in orchestral colour and sonority" (Orledge) which reworks themes from the first movement.Debussy mer essay