The Scottish General Meredith Read called on Debussy in 1890 with a rather unusual request: Read acquainted the composer with a traditional bagpipe melody from his home country and asked him to write a march based on it. Debussy was indeed inspired by the original Scottish tune. He quickly wrote a colourful piece for piano four hands, which he even arranged for orchestra two years later. After the composer’s death further arrangements of the work were made by subsequent editors. Our Urtext edition gives the original musical text from 1891 - a joy for all piano duos looking for new repertoire.
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- Marche écossaise for Piano Four-hands
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Claude Debussy (1862–1918) composed his Marche écossaise for piano four-hands in 1890 under unusual circumstances. The American general of Scottish descent Meredith Read, a descendant of the Earls of Ross in Ross-shire in northern Scotland and who worked at the US embassy in Paris, called on Debussy at his apartment but was not able to voice his request during the visit. … 계속
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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. |
De Urtext is goed verzorgd met doordachte vingerzetting van Andreas Groethuysen, een nauwgezet kritisch commentaar en als extra een alternatief slot, gemaakt op basis van de orkestversie. Dit stuk is, naast de bekende 'Petite Suite', een fantastische aanwinst voor de pianoliteratuur voor vier handen.