Images pour orchestre, L. 122, is an orchestralcomposition in three sections by Claude Debussy, written between 1905 and 1912. Debussy had originally intended this set of Images as a two-piano sequel to the first set of Images for solo piano, as described in a letter to his publisher Durand as of September 1905. However, by March 1906, in another letter to Durand, he had begun to think of arranging the work for orchestra rather than two pianos.[1]
The original title of Gigues was Gigues tristes. Debussy used his memories of England as inspiration for the music, in addition to the song "Dansons la gigue" by Charles Bordes[2] and the Tyneside folk tune "The Keel Row",[3] which are used as key themes. Revolving around Gigues are musical cells which give a sense of unity to the piece. Most are short motifs which appear once or twice or are reused in fragments throughout the piece. Other themes are long solo passages written particularly for the oboe d'amore.
Ibéria is the most popular of the three orchestral Images and itself forms a triptych within the triptych. Its sections are:
Par les rues et par les chemins (Along the streets and along the paths)
Les parfums de la nuit (The scents of the night)
Le matin d'un jour de fête (The morning of a festive day) - a procession of a 'banda de guitarras'
Impressions of Spain inspired this music. Richard Langham Smith has commented on Debussy's own wish to incorporate ideas of juxtaposing elements of the visual arts in musical terms,[6] including a quote from Debussy to Caplet from a letter of 26 February 1910: "You can't imagine how naturally the transition works between 'Parfums de la nuit' and 'Le Matin d'un jour de fête. Ça n'a pas l'air d'être écrit."[7]
III. Rondes de printemps ("Round dances of spring") (1905–1909)edit
This is one of Debussy's most modern works.[opinion] He used two folk tunes, "Nous n'irons plus au bois" and "Do, do l'enfant do" in this movement.[8] Brown, Dempster and Headlam have analyzed the tonal structure of this movement.[9] The first song plays a prominent role from the start of the 15 8 time until the end of the movement, in the solos and in the accompaniments and countermelodies. Debussy had already quoted the song Nous n'irons plus au bois in Images oubliées of 1894 for piano and in Jardins sous la pluie from Estampes (1903).
Referencesedit
^Orledge, Robert (1974). "Debussy's Musical Gifts to Emma Bardac". The Musical Quarterly. LX (4): 544–556. doi:10.1093/mq/LX.4.544.
^ abSpencer, Williametta (1980). "The Relationship between André Caplet and Claude Debussy". The Musical Quarterly. LXVI (1): 112–131. doi:10.1093/mq/LXVI.1.112.
^Pirie, Peter J. (1967). "Portrait of Debussy. 5: Debussy and English Music". The Musical Times. 108 (1493): 599–601. doi:10.2307/953799. JSTOR 953799.
^Orledge, Robert (1974). "Debussy's Orchestral Collaborations, 1911–13. 1: Le martyre de Saint-Sébastien". The Musical Times. 115 (1582). The Musical Times, Vol. 115, No. 1582: 1030–1035. doi:10.2307/960380. JSTOR 960380.
^Orledge, Robert (1996). "Reviews of Books: Claude Debussy: biographie critique by François Lesure". Music & Letters. 77 (1): 132–133. doi:10.1093/ml/77.1.132. JSTOR 737556.
^Richard Langham Smith, "Debussy and the Art of the Cinema" (January 1973). Music & Letters, 54 (1): pp. 61–70.
^Paul Driver, "Debussy through His Letters" (December 1987). The Musical Times, 128 (1738): pp. 687–689.
^ abBrown, Matthew (Autumn 1993). "Tonality and Form in Debussy's Prélude à 'L'Après-midi d'un faune". Music Theory Spectrum. 15 (2): 127–143. doi:10.1525/mts.1993.15.2.02a00010. JSTOR 745811.
^Brown, Matthew; Dempster, Douglas; and Headlam, Dave; Dempster, Douglas; Headlam, Dave (Autumn 1997). "The ♯IV(♭V) Hypothesis: Testing the Limits of Schenker's Theory of Tonality". Music Theory Spectrum. 19 (2): 155–183. doi:10.1525/mts.1997.19.2.02a00020. JSTOR 745752.{{cite journal}}: CS1 maint: multiple names: authors list (link)
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Not to be confused with Images Debussy compositions for solo piano Images pour orchestre L 122 is an orchestral composition in three sections by Claude Debussy written between 1905 and 1912 Debussy had originally intended this set of Images as a two piano sequel to the first set of Images for solo piano as described in a letter to his publisher Durand as of September 1905 However by March 1906 in another letter to Durand he had begun to think of arranging the work for orchestra rather than two pianos 1 Images pour orchestreOrchestral music by Claude DebussyThe composer c 1900 photo by Felix NadarEnglishImages for OrchestraCatalogueL 122Composed1905 1905 12Movementsthree sections five movements Contents 1 Scoring 2 Sections 2 1 I Gigues 1909 1912 2 2 II Iberia 1905 1908 2 3 III Rondes de printemps Round dances of spring 1905 1909 3 References 4 External linksScoring editImages pour orchestre is scored for a large orchestra consisting of 2 piccolos 2 flutes 2 oboes oboe d amore cor anglais 3 clarinets bass clarinet 3 bassoons contrabassoon 4 horns 4 trumpets in C 3 trombones tuba timpani field drum tambourine castanets 2 harps celesta triangle xylophone cymbals 3 bells and strings Sections editI Gigues 1909 1912 edit The original title of Gigues was Gigues tristes Debussy used his memories of England as inspiration for the music in addition to the song Dansons la gigue by Charles Bordes 2 and the Tyneside folk tune The Keel Row 3 which are used as key themes Revolving around Gigues are musical cells which give a sense of unity to the piece Most are short motifs which appear once or twice or are reused in fragments throughout the piece Other themes are long solo passages written particularly for the oboe d amore There is debate over the role of Andre Caplet in the orchestration of Gigues Robert Orledge and Williametta Spencer have accepted that Caplet assisted with the orchestration 2 4 According to Francois Lesure however the manuscript score in the Bibliotheque nationale MS 1010 shows no evidence of Caplet s involvement 5 II Iberia 1905 1908 editIberia is the most popular of the three orchestral Images and itself forms a triptych within the triptych Its sections are Par les rues et par les chemins Along the streets and along the paths Les parfums de la nuit The scents of the night Le matin d un jour de fete The morning of a festive day a procession of a banda de guitarras Impressions of Spain inspired this music Richard Langham Smith has commented on Debussy s own wish to incorporate ideas of juxtaposing elements of the visual arts in musical terms 6 including a quote from Debussy to Caplet from a letter of 26 February 1910 You can t imagine how naturally the transition works between Parfums de la nuit and Le Matin d un jour de fete Ca n a pas l air d etre ecrit 7 Matthew Brown has briefly commented on Debussy s use of techniques such as incomplete progressions parenthetical episodes and interpolations in Iberia 8 III Rondes de printemps Round dances of spring 1905 1909 edit This is one of Debussy s most modern works opinion He used two folk tunes Nous n irons plus au bois and Do do l enfant do in this movement 8 Brown Dempster and Headlam have analyzed the tonal structure of this movement 9 The first song plays a prominent role from the start of the 158 time until the end of the movement in the solos and in the accompaniments and countermelodies Debussy had already quoted the song Nous n irons plus au bois in Images oubliees of 1894 for piano and in Jardins sous la pluie from Estampes 1903 References edit Orledge Robert 1974 Debussy s Musical Gifts to Emma Bardac The Musical Quarterly LX 4 544 556 doi 10 1093 mq LX 4 544 a b Spencer Williametta 1980 The Relationship between Andre Caplet and Claude Debussy The Musical Quarterly LXVI 1 112 131 doi 10 1093 mq LXVI 1 112 Pirie Peter J 1967 Portrait of Debussy 5 Debussy and English Music The Musical Times 108 1493 599 601 doi 10 2307 953799 JSTOR 953799 Orledge Robert 1974 Debussy s Orchestral Collaborations 1911 13 1 Le martyre de Saint Sebastien The Musical Times 115 1582 The Musical Times Vol 115 No 1582 1030 1035 doi 10 2307 960380 JSTOR 960380 Orledge Robert 1996 Reviews of Books Claude Debussy biographie critique by Francois Lesure Music amp Letters 77 1 132 133 doi 10 1093 ml 77 1 132 JSTOR 737556 Richard Langham Smith Debussy and the Art of the Cinema January 1973 Music amp Letters 54 1 pp 61 70 Paul Driver Debussy through His Letters December 1987 The Musical Times 128 1738 pp 687 689 a b Brown Matthew Autumn 1993 Tonality and Form in Debussy s Prelude a L Apres midi d un faune Music Theory Spectrum 15 2 127 143 doi 10 1525 mts 1993 15 2 02a00010 JSTOR 745811 Brown Matthew Dempster Douglas and Headlam Dave Dempster Douglas Headlam Dave Autumn 1997 The IV V Hypothesis Testing the Limits of Schenker s Theory of Tonality Music Theory Spectrum 19 2 155 183 doi 10 1525 mts 1997 19 2 02a00020 JSTOR 745752 a href Template Cite journal html title Template Cite journal cite journal a CS1 maint multiple names authors list link External links editImages pour Orchestre Scores at the International Music Score Library Project Claude Achille Debussy Iberia Images for Orchestra No 2 Unknown author 1935 article Retrieved from https en wikipedia org w index php title Images pour orchestre amp oldid 1212541066, wikipedia, wiki, book, books, library,
