Night (Debussy)

The Nocturnes of Claude Debussy are three musical Compositions impressionist for Symphony orchestra. They were made up between 1897 and 1899. The three night ones are Nuages , Fêtes and Sirènes .

Analyzes

Clouds

Nuages is regarded as one of the largest masterpieces of than one called the musical impressionism. By a static and regular movement, and by harmonic processes seizing, the Compositeur manages to evoke the movement of the clouds with a great saving in means.

Work is written in the form has - B - A' .

Part has

The main theme, which opens work while appearing with the Clarinette S and the Basson S, is with many regards characteristic of the style of Debussy. It almost exclusively constitutes Quinte S and of third S parallels, between which it oscillates in a soft way, repetitive and regular, thus taking the “air” character suggested by the title. It is indeed a process running to Debussy to rather use only part of a agreement (here, the fifth or the third) than the complete agreement, and to double this part, with the octave higher or lower, so as to create a parallelism. Already there one measures at which point the Compositeur is detached from the traditional Harmonie, which prefers the complete agreements and detests, in a general way, parallelisms - and over all the parallel fifths which it prohibits rigorously.

In addition, this topic illustrates the truly not-conventional approach (if one refers to the traditional harmony) of the Tonalité at Debussy. If one can consider the part as being written in if has minor , it is necessary however well to keep in mind which the so minor of Debussy has nothing to do with that one could find at Bach, Mozart or even Wagner. The art developed by the type-setter, in these some measurements, to prevent that the tonic does not settle clearly in the classical sense of the term, is extraordinary. A type-setter with the possibility of affirming the principal tonality in two manners: maybe in simultaneity - i.e. by superimposing, at one exact moment, the three notes of the Triad (1st, 3rd and 5th degree); maybe in the duration - i.e. by making follow one another these three notes, in order to that the auditive Conscience can reconstitute the triad. The establishment of the tonic in simultaneity, Debussy escapes from it, as we saw, by using only fragments of agreements and not from the complete agreements. But it also skilfully avoids establishing so minor in the duration: thus, after work begin with the fifth if - F # (1st and 5th degrees), one could think that the presence of a D (3rd degree) was going to establish the triad clearly: but, malicieusement, the type-setter places under this D a B flat , and muddles by there all the harmonic significance which it could take.

After four measurements, the first topic is stopped by astonishing a triplet, played by the Cor anglais, which lead to a dissonant agreement to which unite the Flûte S and the horn S. From its harmony and its Instrumentation, this reason, which will have a very important role throughout work, is not without evoking Wagner and the beginning of the famous prelude of Tristan and Isolde (only opera of Wagner for which Debussy will never disavow its admiration).

After a short passage pianissimo , marked by a very light quivering of the drinking cups, the main theme reappears with the Violon S before being continued by the whole of the cords, which, starting from the 14th measurement, start a very expressive topic which one can consider that it derives from the main theme. If, as we saw, to remove notes with an agreement is a typical process of Debussy, one finds some here another, who consists on the contrary of the addition of notes to an agreement: thus the triads of minor F , with measurements 15 and 16, are found gratifiés of a B flat which is to them Harmonique lies foreign. To use in the same piece these two processes can appear paradoxical, but actually their aiming is the same one: it is a question of preventing a tonality from clearly settling, in a case by removing the note which would make it possible this tonality to continue, in the other by adding a note which results in “to muddle it”.

Starting from measurement 21, the first topic reappears, made up this time of Sixte S, and played by the whole of the cords. The reason for the cor anglais is superimposed to him. While the main theme continues with the cords, the horns start a very simple reason, consistent in a downward decreased fifth. Not decreased, it is then taken again by the Violoncelle S and the Contrebasse S. the same succession of reasons is repeated four following measurements.

Measurement 29 with measurement 42, the Orchestre entire takes again the topic derived from the main theme, in a grinding more developed and more varied than previously. Finally the main theme reappears with the cords, measures 43, gratifié again of the exquisite triplet of the cor anglais. It is in addition accompanied by a rhythmic reason jerked first viola S and first violoncellos (they each one were divided into two groups) which play Pizzicato . The unit slowly seems to die out, preserving only the soft regular oscillation of the violins and the Chant of the cor anglais, when the Hautbois make hear, measurement 57, the main theme such as it was in the first measurements. It is accompanied by sublime the Contre-chant by an viola Solo. The part has is completed, three measurements later, in a soft pianissimo preparing after.

Part B

The part B does not mark a contrast fulgurating with what preceded, far from there. Even if it is indicated that it must be interpreted in a way “animated a little” compared to the part has, the rate/rhythm, very regular and oscillating, always evokes the movement of the clouds, while the dynamic register does not leave the pianissimo . There are nevertheless certain numbers of new elements, on the tonal level first of all: tonic if minor we passed to his Dominante Majeur E, major F # . Let us note in addition that a Harpe was added to bring a color more particular to the Orchestre. Single the Topic of the part B, initially started by the Flute S and the toothing-stone, is built on the mode Pentatonique often called “Chinese”, which corresponds to the black keys of a Piano. With the measurement 71, the topic is taken again by the cords, but transposed out of its initial mode. Leaving one moment the Far-Eastern atmosphere , it returns to Wagnerian Harmonie S more . Five measurements later however, it reappears last once, again with the flutes and the toothing-stone, and again in the “Chinese” mode. Measurements 77 and 78, which finish the part B, offer to us very an good example of the Polytonalité, and even of the Polymodalité Debussy co.: while the topic, pentatonic on certain degrees of major F # , continues with the flutes and the toothing-stone, the cords make follow one another, pianissimo quanto possibile , of the agreements of major E flat and minor B flat .

A' part

A' part is much shorter than the part has; it should especially be regarded as a conclusive episode which takes again some of the first elements of work. It is introduced by the reason for the Cor anglais, which announces the return to if minor . Accompanied by light trémoli by the Orchestra, the reason for the downward Quinte decreased reappears then with the horn S. the unit is taken again one second time, before it is not heard any more that one lament of the cor anglais, accompanied by quiverings of drinking cups and of very light trémoli of the Violoncelle S and the Contrebasse S. With the measurement 94, a fragment of the main theme of the part has appears with the Basson S, and with measurement 98, it is the 1st Flûte which plays a fragment of the topic B. the horns still make hear, last once, the reason for the downward fifth decreased, before Nuages is not completed, pianissimo quanto possibile , on the Pizzicati of the cords.

Festivals

In the second night one, Festivals , the Compositeur does not paint only the movement, the atmosphere rythmée and dancing of the festival; but more especially the share of unreal, Rêve or perhaps of intoxication that there is from the point of view of this vertiginous procession which approaches and which moves away.

Just like the first night one, Clouds , Fêtes is written in the form has - B - A' with coded.

Part has

First section

On a agreement of the Flute S, in fact the Violon S, fortissimo open the festival with Quinte S being repeated with a unrestrained rate/rhythm. The Cor anglais and the Clarinette S then make their strong appearance by entonnant, , a very sharp Tarentelle. Horn S and Trompette S still adds their stamps coloured to the unit, while the fifths of the violins become decreased, announcing harmonic new prospects . With the measurement 9, whereas the unit was keep silent, viola S, Violoncelle S and Contrebasse S takes again pianissimo the rate/rhythm of the violins. Two measurements later, flutes and Hautbois make hear the tarentelle one again, but this time piano . Then it is with the turn of the Basson S; the rate/rhythm intensifies again, and large a crescendo of wood and cords complete leads to a powerful reason for five agreements entonnés by coppers, on which is completed, after a bearing of drinking cups fortissimo quanto possibile , the first section of part A.

Second section

The second section is introduced by one seizing Glissando Harpe S. Of minor F we passed to the Majeur , and the Compositeur does not fail to indicate: “a little more animated”. The rate/rhythm, plus piqué, more dancing and lighter than previously, appears initially piano with wood, before being begun again mezzo strong by the cords, with the measurement 30. At this time there, the tarentelle one returns, strong , played by the Flûte S and the oboes. All this is then literally repeated. Coppers then make resound of the agreement S very marked; but quickly, one intends wood to take again fragments of the tarentelle one. The agreements of coppers reappear, measurement 45, before being begun again by the Clarinette S, the Basson S and the cords measures 51.

Third section

A new reason, very simple ( the - C - the ) is entonné by the oboes on the light quivering of the cords. It is then taken again, by twice, a third higher, by the Flûte S. the intensity goes up and, with the measurement 73, the cords take again, mezzo-strong , the reason on which coppers had closed the first section, while the whole of the winds whirls highly. A first crescendo rises but, after having led to a fortissimo of the whole of the Orchestre to measurement 83, it leads to a pianissimo where are not made any more hear but fragments by what preceded. A dozen measurements later, begins new a crescendo ; but he also dies out quickly, after one seizing episode of Pizzicati at the cords. In fact now the cords, precisely take again the whirling reason played up to now by wood, while those, contrary, make hear the light and regular reasons played up to now by the cords. A third crescendo , much more important than the two precedents, now will be spread out to fourteen measures, to lead directly to the part B.

Part B

First section

The part B posts a Armature D flat Majeur , even if one cannot say that this Tonalité will appear there truly. Always it is that the precedent crescendo , after having reached the fortissimo , again led to a pianissimo : the festival was thus killed. It is heard initially that a rate/rhythm, made up of Pizzicati of the Violoncelle S and Contrebasse S, light uninterrupted blows of the drinking cups and rubbings of Harpe S, on which will superimpose itself, starting from the measurement 128, a singular Marche, played by the Trompette S which make their appearance in work. This topic is immediately repeated, always by the trumpets, a third minor higher, and Debussy indicates: “brought closer a little”.

Second section

Crescendo , the topic is taken again a third major higher by the whole of wood, supported by Pizzicati which extended to the unit from the cords. One can consider here, with this étoffement of the orchestration, that a second section starts -- even if the division of the part B in sections does not have anything as obvious as that part A. the calls of the horns, with the measurements 152 and 154, still intensify gigantic the crescendo , which leads to what can be perceived like the third section.

Third section

Walk appears finally at the great day, played by the Trombone S and the tuba on a unrestrained rate/rhythm of wood, horns and drinking cups, while the cords start, in triplet S, a drifting topic of the Tarentelle of part A. Beginning pianissimo quanto possibile and being completed fortissimo , the part unquestionably described the movement of a Fanfare, which one initially hears with far and who approaches more and more until appearing “in front of us”.

Part has '

First section

To the measurement 178, the Tarentelle, in Major D flat this time, returns to the Flûte S, thus marking the beginning of the resumption of part A. the unit of the Orchestre continues then, on same the rate/rhythm, a drifting reason for the tarentelle one. Arrived at fortissimo quanto possibile , measurement 204, the Fanfare makes its ultimate appearance.

Second section

The measurement 212 sees the Armature passing by again with major the : it is the resumption of the second section of the part has, which is repeated here in a quasi-literal way, but not in its entirety -- they are only measurements 28 to 39. The changes lie so to speak especially in the Orchestration, which are packed, and in nuances, which are marked: for example, the mezzo-strong of the part has becomes a here strong .

Third section

It is then the third section of the part has which remakes its appearance with the famous topic of three notes, of which two see themselves here reduced in Appoggiature S. After having reached the culminating point, the fortissim O of the whole of the Orchestre, the festival seems little by little to disappear. As often in the ends of pieces at Debussy, the instrument S, strewn, do not entonnent any more but, pianissimo , of the sparse fragments of what was heard before.

Coded

But after a score of measurements, the appears coded. Accompanied by the Pizzicati of the cords, the oboe solo makes hear a tender lament which the Flûte S, the oboes and the Basson S. answer. Finally reappears, with the Violoncelle S and the Contrebasse S, the rate/rhythm of the Tarentelle; but it moves away irremediably, as the partition indicates it: “and always moving away more”. After the horn S and the Trompette S made hear their last agreement S, there remain nothing any more but the double basses, which, after two measurements, move away definitively.

Sirens

By this work with the evocative title, the Compositeur approaches with genius at the same time the topic of the Mer, that it affectionate particularly, and the fascinating universe of the dream. In a note of presentation, it summarized itself thus the spirit of this night: It is the sea and its innumerable rate/rhythm, then, among the Vague S silver plated of the moon, gets along, laughs and passes the Chant mysterious of the Sirènes.

Large characteristic of Sirens is introduction of chorus women (eight Soprano S and eight Mezzo-soprano S) which sings without words, and are the subject thus of an instrumental treatment.

This night is constituted of five parts, exploiting mainly two principal reasons.

First part

On deaf persons Fifth S played pianissimo quanto possibile by the Toothing-stone, the Violoncello S and the Double bass S, work opens on the landscape of the Mer, peaceful, and of its Vague S slightly oscillating that one can understand by a reason for two notes, played by the horn S, and to which answer of the Arabesque S of the Clarinette S. This reason for two notes, which one will be able to call reason for the waves, is most important of Sirènes ; because it is of him that most of all the musical substance from work will result.

As of the second measurement, with far, are made hear the sirens, which are let carry by the waves. The sea starts to become animated, and quickly the reason for the waves, or the arabesque which accompanies it, seizes all the instrument S during briefs Crescendo . After having evoked, without them to really affirm, the Tonalité S of if and the Major , Debussy employs a mode Pentatonique characteristic of its musical expression.

At this point in time, with the twelfth measures, appears with the Cor anglais the second great reason for work, a chromatic lament of five notes. It is then taken again, in reduction, by the Hautbois and the Basson S, while the sirens, carried by increasingly strong waves, do not cease approaching. The call of the cor anglais is made hear again, and once again the sea is agitated before finding its calm for some measurements: the sirens are there.

Second part

And it, with the measurement 26, that the sirens start to them Chant, is based at this time on the reason for the Vague S, oscillating irregularly on only some notes, alternating simple eighth note S and eighth notes in triplet. During this time, the Violon S take again, in reduction, the chromatic reason of the Cor anglais, before it is not with the turn of the Flûte S, the cor anglais and the Clarinette S to do as much of it. In some measurements, the oscillations of water gained all the Orchestre with the sound of the tempting song of the sirens.

With measurement 38, the song stops one moment, leaving room to wood - which, under the Pizzicati of the cords, recalls the reason for the call of the cor anglais - before beginning again, decorated of a splendid accompaniment of the cords made up of notes pricked and repeated very quickly. After intense glissandi of the Toothing-stone S, the reason in mode Pentatonique reappears strong , while the song of the sirens little by little dies out.

Third part

The third part, where Debussy indicates “a little slower”, is darker than both which preceded. On bottom of reminiscence of the preceding Song, whose horns, Clarinet S and viola S takes again fragments, the sirens entonnent a new song, which is not other than the reason for the lament of the Cor anglais, this time not decreased but increased - and even doubly increased.

With the measurement 72, the Type-setter request to animate, “especially in the expression”. In fact, a tormented expression seizes all the Orchestre and intensifies until truly reaching a culminating point, starting from measurement 75, where the cords, strong in the acute register, make hear a melody at the same time sublime and tearing, that they continue until the measurement 82 where Debussy indicates “Retained with force”; on the cords decreasing, the Trompette S then entonnent the initial call of the sirens, in this Gamme by tons so expensive with the type-setter. The Tempo becomes again slower, and song of the sirens sinks it, taking again the chromatic lament cor anglais, is repeated. During this time, it is the entire orchestra which takes again the reason for the Vague by employing the range by tons. But suddenly, with measurement 101, whereas the intensity seemed again to rise and that the strong had been reached, the song of the sirens, abruptly, stops.

Fourth part

The fourth part observes a progressive return with the first tempo. The orchestral landscape, in addition, is not any more that of the preceding part. It is initially only a rate/rhythm, deaf person and jerked, who is made hear with the horns, with the Harpe and with the Pizzicati of the viola S, before over the Cor anglais does not appear and the Basson S, taking again the first Chant sirens (based on the reason for the Vague S), and accompanied by embroideries of the Flûte S and the Clarinette S. But two measurements later, they are the sirens themselves which entonnent their voluptuous and tempting song, while the whole of the Orchestre accompanies them with more and more of intensity.

With measurement 111, after a rise of the Violin S, in thirty-second notes, on the degrees of the Gamme by let us tons, the first tempo is finally found: on the Tremor S of the violins and the Arpeggio S of the toothings-stone, the sirens sing their mezzo-strong melody , while the trumpets, which remade their appearance, make hear their calls, soon increasingly remote.

Fifth part

Once again, with the measurement 119, the Chant of the sirens stops. One hears some more than one fragment, with the horns, while the cords, simultaneously, assemble and descend the Gamme by tons, pianissimo quanto possibile . The sirens again make hear the sad song of the third part, namely the reason of the Cor anglais doubly increased. During this time, the song drawn from the reason for the Vague S appears successively with the viola S, the Violon S, the Clarinette S and again with the violas. All seems to die out and grow blurred, and at time when the Compositeur indicates “slower and while retaining until the end”, the reason for the lament of the cor anglais is played, such as it is this-time Ci, by the violins.

Sirens, one hears more than one sigh; and again the violins take again the lament, a third minor low than previously. After a last call of the trumpets resounded with measurement 137, the sirens entonnent ultimate once, pianissimo , their soft song drawn from the reason for the waves. Work is completed, pianissimo quanto possibile , on the Triad of so major .

Partitions

Clouds : site of the " project; Variations" university of Indiana
Festivals : site of the " project; Variations" university of Indiana
Sirens : site of the " project; Variations" university of Indiana

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