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The three movements are:

  1. Nuages (“Clouds”) Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent.
  2. Fêtes (“Festivals”) Animé et très rythmé – Un peu plus animé – Modéré (mais toujours très rythmé) – Tempo I – De plus en plus sonore et en serrant le mouvement – Même Mouvement.
  3. Sirènes (“Sirens”) Modérément animé – Un peu plus lent – En animant, surtout dans l’expression – Revenir progressivement au Tempo I – En augmentant peu à peu – Tempo I – Plus lent et en retenant jusqu’à la fin.

The three movements were inspired by a series of impressionist paintings, also entitled “Nocturnes” by James Abbott McNeill Whistler.[1]

Debussy wrote an “introductory note” to Nocturnes as follows:

“The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. ‘Nuages’ renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. ‘Fêtes’ gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. ‘Sirènes’ depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on.”[2]

Nuages and Fêtes were premiered by Camille Chevillard with the Lamoureux Orchestra on 9 December 1900 in Paris. The complete suite was first heard under the same forces on 27 October 1901. The initial performances met with a cool response from critics and the public, but today these are considered some of Debussy’s most accessible and popular works, admired for their beauty.[1] The music lasts for about 25 minutes.[1]

 

The entire article is available on Alternet.org, but I found this section in particular very moving.

“Even when I was on the job, I was always asking, what can I do to prevent these guys before they get there? I used to bring kids down from schools. I would allow the kids to sit in the chair and explain that I want to see kids get an education and remove themselves from violence or you’ll end up here. I know it helped. I used to get letters. They would write back saying thank you for steering them in the right direction. I also never understood why we would spend money on the death penalty instead of spending money to try to prevent these people from getting in the system in the first place.”

How do you impress upon people the idea that social spending up front – welfare, schools, healthcare – is cheaper than the alternative.? The insurance industry, the police and prison systems are all significantly less cost effective than doing the work up front and taking care of people before the problems start.  But no, that’s the welfare state, that’s coddling the poor that is denying them personal responsibility.

We certainly, cannot undertake programs that well help people before they enter the systems of punishment in our society.  It only makes sense and is cost effective…

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