Photograph taken in Paris
One idea of Debussy’s in orchestral writing is to get the greatest effect with the simplest means. To produce these effects Debussy employs many old scales and harmonic chords. His instrumentation, therefore, seems diaphanous, ethereal, and suffused with delicate, opalescent colors. He is in sympathy with the impressionists in painting and the symbolists in poetry. The fluid quality of his music lends itself to the description of water. His works are full of the sound of water—the sea, fountains, and silvery rain falling upon dim gardens. He creates a sense of mystery and atmospheric beauties as no one else has ever done.
In the Afternoon of a Faun:
“The ascending and descending introductory bars given out by an unaccompanied flute convey an idea of pastoral charm. A characteristic bucolic horn motive follows, and the first theme is repeated with muted string accompaniment. The whole scoring of the composition is of cobweb delicacy. The Orchestra is composed of three flutes, oboes, clarinets, four horns, two harps, antique cymbals, and strings. The principal themes are given by clarinets, oboes, and harps respectively. A scale of whole tones is heard on the clarinet; this leads to another section marked più animato, in which the oboe voices the principal theme. These subjects are all interwoven with and linked to other themes. They are heard sometimes as solos, sometimes concerted. The rhythm of the whole work is free and varied. The strings, muted or otherwise, are often used as a kind of background to the wind solos, which is most effective. A veil of palpitating heat seems to be suffused over the composition and corresponds to the glow of Eastern sunlight in the poem and also to the remote, visionary nature of the poet’s imagery and fancies. The tone poem also recalls the golden noon of an Idyl of Theocritus. All through the piece the composer preserves this feeling of elusiveness, of mirage: he attains it by the use of delicate unusual harmonies and by the silvery, web-like tracery of his phrases. The frequent use of the scale of whole tones and the unresolved dissonances produce a distinct charm of their own. The chords are of an exceeding richness and present a depth of glowing color. The interspersed solos for violin, oboe, clarinet, cor anglais, resemble dainty broidery, and portray intimately the ramifications of doubt and longing in the faun’s mind, which he likens to a multitude of branches with slender pointed sprays and sprigs.”[86]
Debussy thus explains some of his titles: “The title of Nocturnes is to be interpreted in a wider sense than that usually given, and most especially it should be understood as having a decorative meaning. Therefore, the usual form of Nocturne has not been considered, and the word should be accepted as signifying in the fullest manner diversified impressions.
“Nuages (clouds)—the unchanging aspect of the sky and the slow, solemn movement of the clouds dissolving in gray tints lightly touched with white.
“Fêtes (festivities)—the restless dancing rhythm of the atmosphere interspersed with sudden flashes of light. There is also an incidental procession (a dazzling imaginary vision) passing through and mingling with the aërial revelry; but the background of uninterrupted festivity is persistent with its blending of music and luminous dust participating in the universal rhythm of all things.
“Sirénes (sirens)—the sea and its perpetual rhythm, and then amid waves silvered by moonbeams are heard the laughter and mysterious song of passing sirens.”
ORCHESTRA OF THE SYMPHONY SOCIETY OF NEW YORK