Inspired by a symbolist poetry by Stéphane Mallarmé of the same name, and later becoming a ballet by Nijinsky and the Ballets Russes, it is an early piece for Debussy as it was premieres in Paris on December 22 1894. The composer Gustave Doret was at the podium.
This is what Debussy himself wrote about the work: “The music of this prelude is a very free illustration of Mallarmé's beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. 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.”
The opening theme
The theme repeated throughout the piece is in fact a short motif of four bars. It is remarkable as it is written in two parts: the first two bars are chromatic in nature with descending and ascending chromatisms and the last two bars melodic (major second, perfect fourth,major third followed, major sixth, minor third, major second and minor second. The phrase is harmonically inconclusive.
The motif is introduced by the flute and has become a staple of flute playing. Many flutists aim at playing the entire phrase in one breath, using rotation breathing so as to not interrupt the expressive flow of the phrase. The French tradition however is to play it with a breath just before the third bar.
The theme first exposed with no accompaniment will be played with a varying harmonic
structure in its various iterations, but all resolving on the key of E Major. This
theme is portraying a faun, a mythical creature with small hornsand goat legs, with
the rest of the body being of human resemblance. They are in the Greek and Roman
tradition free-
The poetry recounts the encounter of the faun with nymphs in a hot summer afternoon and the seductive nature of the dreamed encounter with one particular nymph. The piece is suggestive in nature and yet very expressive. The culminating point happens two third into the piece, where suddenly melody and harmony move out of the torpor of the scorching heat and where Debussy allows himself expressive lyricism. The orchestra is small, 3 flutes, 2 hautbois. 2 A clarinets, 4 horns, 2 harps and strings. Apart from the horns so dear to Debussy and instrumental in color making, there are no other brass instruments and no percussions, except a small “cymbale antique) or “crotale” at the end of the piece.
The work as so well received at its first performance that it was encored twice with standing ovations.
It is a major work of 20th century music and Pierre Boulez itself marks it as the beginning of modern music.
This piece originally written for a new prototype of a chromatic (“cross strung”) harp is now routinely performed on a modern harp. It calls for a variation of colors and dynamics. The first dance is very meditative in style typical of what is believe to be a representation of a Greek antique sacred dance.
The second dance is still very much Greek and classical in its gesture but built on a three beat waltz tempo.
Cross strung harps
Gestures and Expressions
September 26, 2009 -
Yehudi Wyner
“Epilogue: was commissionned for the Norfolk Chamber Music Festival home of the Yale
Summer School of Music. It was a commission for the Leshowitz Family Foundation and
Meet-
Although originally thought as a celebratory piece of festive character, the sudden death of Jacob Druckman, his colleague and friend changed Wyner’s approach to the piece. From celebratory, the mood became darker.
Yehudi Wyner himself states in his program notes for the release of the CD including “Epilogue” that “the mood (of the piece) is somber and elegiac; the style simple and tonal”...
Igor Stravinsky (1882-
Firebird Suite (1919 Version)
“Firebird” was composed in 1910 as a commission from
Diaghilev and his famed “Ballets Russes” . The premiere was performed on June 25 1910 under the baton of Gabriel Pierné. “Firebird Suite” is one of three versions Stravinsky arranged as orchestral suites (1911, 1919, 1945) from the full ballet. It is also the most widely performed.
The story line for the ballet is straight-
Ivan enters the castle of King Katschei, discovers a Firebird in the gardens, chases it and catches it. Begging for its life, the Firebird promises Ivan to assist him in anything in exchange for its freedom.
Continuing his discovery of Katschei’s palace, Ivan discovers thirteen princes and falls in love with one of them. He seeks Katschei to ask him permission to marry her. An argument and fight ensue and Katschei sends after Ivan his magical creatures. The Firebird, true to its promise to Ivan intervenes in an infernal dance which will totally bewitch Katschei and his creatures and put them all to sleep.
Katschei awakens only to be taken into another dance by the Firebird. While Katschei is asleep, the Firebird tells Ivan the secret of the magician’s immortality. Ivan destroys that secret, which in turn kills Katschei. This breaks the spell and all magical creatures, Katschei’s palace and objects disappear. Only remain the awakening prince, the one Ivan loves, the Firebird and Ivan. They celebrate their victory in a grand finale.
The 1919 version of the Firebird Suite retains essential elements from the Ballet:
The Introduction starts in a low rumbling in the double basses, accentuating the mysterious and frightening atmosphere of Katschei’s palace.
The Dance of the Firebird is fast-
The Dance of the Princesses is of a softer tone. Solo instruments in the orchestra symbolize the ongoing dialogs and courtship. The thematic line is totally Russian in character but one can sense French influences in the melodic and harmonic treatment.
The Infernal Dance of King Tatschei is a fast-
The Berceuse is a Lullaby and represents the moment where Ivan is told Katschei’s secret for immortality.
The Finale is the magnificent conclusion of the piece, and starts with a beautiful horn solo exposing a simple theme that will be repeated in crescendo throughout the Finale and with the entire orchestra.
PROGRAM NOTES
Patrick Botti
