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The Suite bergamasque is one of the most famous piano suites by Claude Debussy. Debussy commenced the suite in 1890 at age 28, but he did not finish or publish it until 1905.[1]
The Suite bergamasque was first composed by Debussy around 1890, but was significantly revised just before its publication in 1905. It seems that by the time a publisher came to Debussy in order to cash in on his fame and have these pieces published, Debussy loathed the earlier piano style in which these pieces were written.[1] While it is not known how much of the Suite was written in 1890 and how much was written in 1905, it is clear that Debussy changed the names of at least two of the pieces. “Passepied” was called “Pavane”, and “Clair de lune” was originally titled “Promenade Sentimentale.” These names also come from Paul Verlaine’s poems.
The first piece in the suite is entitled “Prélude”. “Prélude” is in the key of F, in tempo rubato. It is full of dynamic contrasts with a vigorous beginning and ending. It is a festive piece, which holds much of the baroque style that is commonly found in preludes.
The three movements are:
- Nuages (“Clouds”) Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent.
- 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.
- 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]
Featuring performance and visualization by Stephen Malinowski.
The third and most famous movement of Suite bergamasque is “Clair de lune,” meaning “moonlight” in French. Its name comes from Paul Verlaine‘s poem of the same name which also refers to ‘bergamasques‘ in its opening stanza: Votre âme est un paysage choisi / Que vont charmant masques et bergamasques / Jouant du luth et dansant et quasi / Tristes sous leurs déguisements fantasques
Just finishing up working on a selection from Purcell, this could be my next vocal project. Having been doing a lot of singing in Italian as of late I’ve noticed by french pronunciation has gone to merde. :>
- Date: 1880
- Composer: Claude Debussy
- Period: Post-Romantic (1870-1909)
Review
This is Debussy’s first published work, and shows many of the characteristics
that we see in the mature Debussy–a somewhat melancholy, bittersweet air,
considerable tone-painting with both voice and instruments, and an intense
lyricism. While it is a bit more old-fashioned than Debussy’s later work,
more “hummably” melodic, and a bit more obvious in its craft, it is a strong
and attractive composition.
The refrain, sung three times, translates “Starry night, under your veils,
under your breaths and your scent, sad, sighing lyre, I dream of past loves.”
The verses are less openly melodic, but flow naturally into the simple,
repetitive refrain. The piano accompaniment matches the rippling vocal
lines, and the final product is a perfect example of the sweetly melancholic
French salon music of its times. ~ Anne Feeney, Rovi
Claude Debussy‘s piece Reflets dans l’eau (“Reflections in the Water”) is the first of three pieces for the piano from his first volume of Images, which are frequently performed separately. It was written in 1905. As with much of Debussy’s work, it is referred to as Impressionistic, meaning that it expresses emotions and senses by making use of non-functional harmony and ambiguous key signatures, its tonality being mainly non-diatonic and usually having a sense of modality.
Reflets dans l’eau opens in a slow tempo (andantino molto) with a melody of A flat, F, E flat (which is repeated through much of the piece) while the right hand is playing a set of chords to accommodate the melody. It shares the main characteristics of French music of this period. For instance, the piece is characterized by ambiguous and fast changing harmonies.
The piece has several brief melody statements and climaxes that are more glimpses of music than full ideas, which is typical of Debussy’s middle and late piano works. This is one of the many pieces Debussy wrote about water; in particular, light reflecting off of its surface. The piece creates an image of water being not quite still, then becoming rapid, then decreasing in motion again. Reflets dans l’eau is also an example of the new tone colors Debussy discovered for the piano in this part of his life, and although he later refined this style, this piece is part of the greater achievements Debussy reached with the instrument.[1]
bleatmop
Mystro
The Arbourist
Dead Wild Roses 
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