Product Description
Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussys death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussys keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravels Jeux deau, published in 1902. The opening movement, Pagodes, is Debussys first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussys use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.
Just as Pagodes was his first Oriental piece, so La soirée dans Grenade was the first of Debussys evocations of Spain-that preternatural embodiment of an imaginary Andalusia which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussys personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravels Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), if this isnt the music they play in Granada, so much the worse for Granada!-and there is no debate about the absolute authenticity of Debussys use of Spanish idioms here. Falla himself pronounced it characteristically Spanish in every detail. La soirée dans Grenade is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar.
Jardins sous la pluie is based on the childrens song Nous nrons plus au bois (We shant go to the woods): its original 1894 form was in fact entitled Quelques aspects de Nous nrons plus au bois. The two versions are really two distinct treatments of the same set of ideas, but in Jardins sous la pluie Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrens song for treatment, Do, do, lenfant do) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha
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