词条 | Six sonatas for various instruments |
释义 |
The Six sonatas for various instruments ({{Lang-fr|Six sonates pour divers instruments}}) by Claude Debussy (1862–1918) was a projected cycle of sonatas, that were interrupted by his death in 1918, after he had composed only half of the projected sonatas. He left behind his sonatas for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1916–1917). HistoryFrom 1914, the composer, encouraged by the music publisher Jacques Durand, intended to write a set of six sonatas for various instruments, in homage to the French composers of the 18th century. The First World War, along with the composers Couperin and Rameau, inspired Debussy in writing the sonatas. In a letter to the conductor Bernard Molinari, Debussy explained that the set should include "different combinations, with the last sonata combining the previously used instruments". His death on 25 March 1918 prevented him from carrying out his plan, and only three of the six sonatas were completed and published by Durand, with a dedication to his second wife, Emma Bardac. SonatasSonata for cello and pianoThe sonata for cello and piano, L. 135, was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.[1] The work has three movements:
The two final movements are joined by an attacca. Instead of sonata form, Debussy structures the piece in the style of the eighteenth-century monothematic sonata, and was particularly influenced by the music of François Couperin. The piece makes use of modes and whole-tone and pentatonic scales, as is typical of Debussy's style. It also utilises many types of extended cello technique, including left-hand pizzicato, spiccato and flautando bowing, false harmonics and portamenti. The piece is considered technically demanding. Whether descriptive comments related to characters of the Commedia dell'arte were actually given by Debussy to cellist Louis Rosoor remains unclear.[2] Sonata for flute, viola and harpThe sonata for flute, viola, and harp, L. 137, was also written in 1915. The first performance of the Sonata took place in Boston, at Jordan Hall in the New England Conservatory, on November 7, 1916. The performers were members of a wind ensemble called the Longy Club, which had been founded by the principal oboist of the Boston Symphony Orchestra, George Longy. The first performance in France was a private one that occurred on December 10, 1916, at the home of Debussy's publisher, Jacques Durand.[3] The first public performance in France was thought to be at a charity concert on March 9, 1917.[4] However, Thompson (1968) reported a performance of the sonata at London's Aeolian Hall by Albert Fransella, H. Waldo Warner and Miriam Timothy on February 2, 1917 as part of a concert otherwise given by the London String Quartet. A typical performance lasts between 17 and 18 minutes. According to Léon Vallas (1929),[5] Debussy initially planned this as a piece for flute, oboe and harp. He subsequently decided that the viola's timbre would be a better combination for the flute than the oboe's, so he changed the instrumentation to flute, viola and harp. The instrumentation would later become a standard ensemble instrumentation. The work has three movements:
Sonata for violin and pianoThe sonata for violin and piano, L. 140, was written in 1917. It was the composer's last major composition and is notable for its brevity; a typical performance lasts about 13 minutes. The premiere took place on 5 May 1917, the violin part played by Gaston Poulet, with Debussy himself at the piano. It was his last public performance.[6] The work has three movements:
The unfinished sonatasDebussy wrote in the manuscript of his violin sonata that the fourth sonata should be written for oboe, horn, and harpsichord,[7] and the fifth for trumpet, clarinet, bassoon and piano.[8] For the final and sixth sonata, Debussy envisioned a concerto where the sonorities of the "various instruments" combine, with the gracious assistance of the double bass,[8][9] making the instrumentation: {{div col}}Flute Oboe Clarinet Bassoon Horn Trumpet Harp Piano Harpsichord Violin Viola Cello Double bass{{div col end}} The idea of combining the instruments oboe, horn, and harpsichord, inspired Thomas Adès to write his Sonata da Caccia, and the combination of the instruments trumpet, clarinet, bassoon and piano, inspired Marc-André Dalbavie to write his Axiom.[10] The Australian composer Lyle Chan has written three sonatas for the same combinations of instruments as in the three unfinished Debussy sonatas.[11] Bibliography
References
1. ^{{harvnb|Sensbach|p=282}} 2. ^Moray Welsh. « Behind the Moon-eyed Mask ». The Strad (April – June 1992) and Antoine Pery. « Louis Rosoor et l'interprétation de la Sonate pour violoncelle et piano de Debussy », Cahiers Debussy n° 39 / 2015, Centre de documentation Claude Debussy, June 2016 (fr). 3. ^Rockport Music 4. ^{{harvnb|Walker|1988}} 5. ^Cited in {{harvnb|Walker|1988}} 6. ^Sleeve note of the Supraphon CD (SU 3547-2 101) 7. ^Léon Vallas Claude Debussy et son temps. éd. Albin Michel, 1958 – 441 pages. [https://books.google.com/books?hl=en&id=bFEMAQAAIAAJ&q=hautbois%2C+cor+clavecin page 412]. 8. ^1 Henry Prunières La Revue musicale, Numéros 258 à 259. Éditions Richard-Masse, 1964. [https://books.google.com/books?id=bMMJAQAAMAAJ&q=basson page 140]. 9. ^Christian Goubault Claude Debussy : la musique à vif. éd. Minerve, 2006. 236 pages {{ISBN|2-86931-102-8}}. [https://books.google.com/books?id=OdEYAQAAIAAJ&q=contrebasse page 44]. 10. ^{{cite web|url=https://www.newmusicusa.org/the-debussy-six-music-mondays/|website=newmusicusa.org|date=24 August 2016|title=The Debussy "Six" – Music Mondays}} 11. ^Australian National Academy of Music, "Music Makers", Vol. 26, May 2018, p. 3
External links
Sheet music
4 : Chamber music by Claude Debussy|Cello sonatas|Violin sonatas|1917 compositions |
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