![]() The development of the slow main theme transitions smoothly between 9Ĩ. ![]() The opening flute solo consists of a chromatic descent to a tritone below the original pitch and then subsequent ascent. Recurring tools in Debussy's compositional arsenal make appearances in this piece: extended whole-tone scale runs, harmonic fluidity without lengthy modulations between central keys, and tritones in both melody and harmony. ![]() The main musical themes are introduced by woodwinds, with delicate but harmonically advanced accompaniment of muted horns, strings and harp. A close analysis of the piece reveals a high amount of consciousness of composition on Debussy's part. The Prélude at first listening seems improvisational and almost free-form however, closer observation will demonstrate that the piece consists of a complex organization of musical cells, motifs carefully developed and traded between members of the orchestra. ĭebussy had intended to compose a second and third movement, an Interlude and Paraphrase finale, respectively, but he decided to concentrate all of his musical ideas into one movement. Though called a "prelude," the work is nevertheless complete – an evocation of the feelings of the poem as a whole. was musical response to the poem of Stephane Mallarmé (1842–1898), in which a faun playing his pan-pipes alone in the woods becomes aroused by passing nymphs and naiads, pursues them unsuccessfully, then wearily abandons himself to a sleep filled with visions. The work is scored for three flutes, two oboes, cor anglais, two clarinets in A and B ♭, two bassoons, four horns, two harps, two crotales and strings.Īlthough it is tempting to call this piece a tone poem, there is very little musical literalism in the piece instead, the slow and mediated melody and layered orchestration as a whole evoke the eroticism of Mallarmé's poem. Yours, Mallarmé." Composition Illustration by Léon Bakst for the ballet Afternoon of a Faun by Nijinsky, after Debussy's music The marvel! Your illustration of the Afternoon of a Faun, which presents no dissonance with my text, but goes much further, really, into nostalgia and into light, with finesse, with sensuality, with richness. ![]() However, after attending the premiere performance at Debussy's invitation, Mallarmé wrote to Debussy: "I have just come out of the concert, deeply moved. He believed that his own music was sufficient, and that even with the best intentions in the world, it was a veritable crime as far as poetry was concerned to juxtapose poetry and music, even if it were the finest music there is. Paul Valéry reported that Mallarmé himself was unhappy with his poem being used as the basis for music: Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. By no means does it claim to be a synthesis of it. The music of this prelude is a very free illustration of Mallarmé's beautiful poem. Pierre Boulez considered the score to be the beginning of modern music, observing that "the flute of the faun brought new breath to the art of music." ĭebussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.īackground Performed by Natalia Ensemble, 2014 It is one of Debussy's most famous works and is considered a turning point in the history of Western art music as well as a masterpiece of Impressionist composition. The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. The flute solo was played by Georges Barrère. It was composed in 1894 and first performed in Paris on 22 December 1894, conducted by Gustave Doret. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration.
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