Classical Music | Piano Music

Recorded on 04/06/2011, uploaded on 10/03/2011

Musician's or Publisher's Notes

Meaning “prints” or “engravings,” Claude Debussy’s Estampes, composed in 1903, is a musical journey that spans nearly half the world. It begins with evocations of East Asia in the opening piece, Pagodas; then takes the listener to Spain in La soirée dans Grenade; and, finally, returns to Debussy’s own country with Jardins sous la pluie.

Pagodas makes prominent use of the pentatonic scale and Javanese Gamelan music to depict the majestic temples of East Asia that give the piece its title. The music seems to flow effortlessly and possesses a remarkably beautiful serenity. To create the unique impression of Pagodas, Debussy specifically marks the piece to be played “presque sans nuance,” meaning “almost without nuance,” essentially going against a pianist’s inherent tendency to use rubato to enhance a piece’s expressiveness, but creating in effect an entrancing stillness.

La soirée dans Grenade draws on the habanera to evoke the Spanish city. Though actually a dance of Cuban origin, the habanera became quite popular in France during the 19^th century, and was on several occasions used by French composers in their depictions of the Iberian Peninsula. Indeed, Debussy even used the dance again in La Puerta del Vino from his second book of preludes. With the exception of two brief passages toward the conclusion of the piece, Debussy avoids the fiery flamenco-like music so often stereotypically connected with Spain. Nonetheless, in his own musical language, Debussy creates a vivid and impressive depiction of Grenada. The Spanish composer Manuel de Falla held Soirée in high regard and stated, "There is not even one measure of this music borrowed from the Spanish folklore, and yet the entire composition in its most minute details, conveys admirably Spain."

Following in the tradition of the French keyboardists before him, the finale of Estampes is essentially a toccata. A highly energetic and rhythmic piece, Jardins sous la pluie (“Gardens in the Rain”) gives the impression of a rather heavy rainstorm. At times, one can wonder if there are not hints of thunder in the music. Two French folksongs are used in the piece, Nous n'irons plus aux bois (“We'll Not Return to the Woods”) and Dodo, l'enfant do (“Sleep, Child, Sleep”), suggesting that a child unable to go outside and play is also part of the musical portrait.       Joseph DuBose

_____________________________________

The title Estampes refers to images printed from engraved copper or wood plates. Pagodes (Pagodas) transports us to the Far East, and evokes the sound and images of an exotic Asian landscape. Throughout Debussy’s life, the images and sounds of the Far East inspired his imagination and creativity. In Pagodes, Debussy makes use of the pentatonic scale, as well as mimicking the sounds of Javanese Gamelan percussion.  Soirée dans Granade (Evening in Granada) is the first of three works by Debussy inspired by Spain, a country he never visited. Spanish composer Manuel de Falla said of Soirée dans Granade, "There is not even one measure of this music borrowed from Spanish folklore, and yet the entire composition in its most minute details, conveys admirably Spain.” Debussy saw the score of Ravel’s original two-piano version of Habañera following its first performance in 1898, and he paid subtle tribute to Ravel five years later by labeling Soirée dans Grenade as “Mouvement de Habañera.” Jardins sous la Pluie (Garden in the Rain) delicately weaves two French nursery songs. Chromatic, whole tone, major and minor scales are used throughout the piece.  This movement was apparently inspired by a scene described by the painter Jacques-Emile Blanche one rainy afternoon as he set out to draw a sketch of the composer.      Katsura Tanikawa

Courtesy of International Music Foundation.