All cellists are familiar with Debussy’s sonata, which he only composed in 1915, three years before his death. Debussy had, however, already written two works for violoncello and piano in 1882, when he was only 20 years old. They largely remained hidden from the public eye because the autograph of the “Intermezzo” – the sole source for this work – was inaccessible for decades. Today, Henle Publishers are in the fortunate position of being able to present an Urtext edition of the “Intermezzo”, also including the “Scherzo” that was posthumously published in 1995. The fingerings and bowings were provided by Jeffrey Solow (violoncello) and Eckart Sellheim (piano).
- Intermezzo and Scherzo
During the years 1880–82, Claude Debussy (1862–1918) occasionally acted as travelling companion and house pianist to Tchaikovsky’s patroness, Nadezhda von Meck. Twice, in 1881 and 1882, he visited Russia, where he was Mme von Meck’s partner in 4-hand piano works, taught piano to her younger daughters Sonja and Ludmilla, and acted as accompanist to the singing of Julia, … 続き
Most important French composer around 1900, whose music, primarily characterized by its sound, exhibits profound innovations. His oeuvre bears a close relationship to Symbolism.
|1862||Born in Saint-Germain-en-Laye on August 22.|
|1872–84||Studies at the Conservatoire de Paris. During this time, he travels with the family of Nadezhda von Meck to Switzerland, Italy, Vienna, and Russia, where he becomes acquainted with Russian and Gypsy music.|
|1884||Wins the Prix de Rome with his cantata “L’Enfant prodigue.” Thereafter resides in Rome until 1887.|
|1887–89||Songs, “Cinq Poèmes de Baudelaire.”|
|1888/89||Visit to the Bayreuth Festival; criticism of Wagner.|
|1889||Exposition universelle (World Exposition) in Paris, where he learns about East Asian music, which influences his style.|
|1890||Connection to Mallarmé and his circle.|
|1891/1903||Series of songs, “Fêtes galantes,” after Verlaine.|
|1891–94||Orchestral work “Prélude à l’après-midi d’un faune” (“Prelude to the Afternoon of a Faun”) with arabesque-like melodies.|
|1897–99||Nocturnes for orchestra and women’s voices.|
|1901||Beginning of his activity as a music critic.|
|1902||Performance of the opera “Pelléas et Mélisande” after the Symbolist drama by Maeterlinck, which despite criticism spells his breakthrough.|
|1903–05||Orchestral work “La Mer” uses symphonic principles and “Impressionist” tonal language.|
|1905–07||Books one and two of “Images” for piano.|
|1906–08||“Children’s Corner,” children’s pieces for piano.|
|1909–10/11–1913||Books one and two of the “Préludes” for piano; the programmatic titles of these character pieces, some of which are quite esoteric, are listed at the end of each one.|
|1913||Songs “Trois poèmes de Stéphane Mallarmé.”|
|1915–17||Chamber music sonatas, drawing from the French tradition of the eighteenth century.|
|1918||Death in Paris on March 25.|
Meticulously edited by Jeffrey Solow, cellists will be delighted to discover these unfamiliar works.