The work was originally intended as part of the Suite bergamasque (HN 381), like L’Isle joyeuse (HN 386). Yet in the end Debussy chose other pieces for the Suite, and published Masques and L’Isle joyeuse separately in September and October 1904 as new compositions. Both pieces were written in summer 1904, a particularly turbulent period in Debussy’s life, as he had just left his first wife Lilly for Emma Bardac. The Masques appear to be much more reserved and at the same time more mysterious than the Isle joyeuse. The Catalonian virtuoso Ricardo Viñes gave the premières of both works, which have remained extremely successful to this day.
収録作品/詳細
- 難易度 (解説)
- 同じ難易度の作品をもっと見る
音声/動画
序文
Like L’Isle joyeuse, Masques was originally intended to be part of the Suite bergamasque, and although both pieces – L’Isle joyeuse and Masques – were published separately they both have to a certain extent the same history. At various times commentators have thought to see in these works two opposing features of Debussy’s writing for the piano, with Masques standing … 続き
批判校訂報告
作曲家について
Claude Debussy
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. |