It was only with his late works that Debussy, an unconventional innovator, turned back to tradition. In 1915 he had six sonatas for various instruments in mind. He was only to complete three of them before his death in 1918, following a severe illness. The first of these was the Cello Sonata that he composed unusually quickly in 1915. During his summer holiday by the sea in Pourville, Debussy worked at great speed. The sonata, with an unusual sequence of movements Prologue-Sérénade-Finale, was published in that same year. The work belongs to the cellist’s core repertoire.
収録作品/詳細
- Violoncello Sonata d minor
Youtube
序文
Debussy’s Sonata for Violoncello and Piano is the first of the three sonatas representing his late style of chamber music. It was written at great speed in July 1915 in the seaside town of Pourville, near Dieppe in Normandy. On 5 August Debussy announced to his publisher, Jacques Durand, that he was about to send a manuscript whose “proportions and almost classical form in … 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. |
Die nach dem Autograph und der Erstausgabe von Ernst-Günter Heinemann erstellte Urtext-Ausgabe mit den Strichbezeichnungen und Fingersätzen von Reiner Ginzel und Klaus Schilde macht das 1969 bei Peters erschienene und heute vergriffene Werk in einer neuen, übersichtlich und praxisnah gedruckten Form wieder zugänglich.