Les Parfums De La Nuit Debussy

[Giacometta Fritchman]

Inmy last post we listened to and examined some novel techniques used by Claude Debussy in Par les rues et par les chemins, the first part of his triptych entitled Ibria (1907). This post will look at some interesting functionality from the second and third movements.

The first and probably most obvious tool that M. Debussy uses is the crescendo. Note how the first measure (number 66 in the score) begins at a piano or pianissimo and the players crescendo to a mezzo-forte or forte in measure 67. The second tool is the change from a rather vague and partially whole-tone tonal center to a more traditional one, G-sharp minor (of course the chord is not a simple G-sharp minor triad, a G-sharp minor seventh comes closer its proper name. As with much Impressionist writing, traditional harmonic nomenclature and analysis is less useful than in a piece by, say, Mendelssohn.).

The third element is simply filling in the sonic range of the orchestra. Note that for the two measures before the first violins make their entrance in measure 67, the lowest note sounded is small B-flat by the solo horn.

For this next example we have a passage from a bit later in the same movement. The music just prior to this example has some roiling and is busy with its variety of moving parts. Once we arrive at the end of the 2/4 measure we see how Debussy again shifts the mood. The clarinets, bassoons and horns fill the ensuing measures with the murmuring chordal background, reminiscent of the steady movement of water. This technique is used commonly for the inference of movement. (Perhaps it could be at least partially considered the orchestral equivalent of the Alberti bass.)

The next example is the last, dying measures of Les parfums de la nuit. As such it is a perfect transition from the enchantment of a perfume-scented night and the sunrise on a busy, festival day. In fact, we hear both moods in the last few measures. For the main but ebbing melody the bassoon temporarily joins the solo flute and solo violin, both marked to play softly.

From a basic tonal viewpoint, the contrabasses and contrabassoon move the bottom of the orchestra up a half step from F-sharp to G, while a horn, the timpani and cellos maintain the sustained C-sharp giving us a vague unease because of the tritone. In tonal and tonal-like music the tritone will generally increase the angst of the listener. To compound this he has the violas tremolo major thirds on each beat with a cello playing their lower line.

Once this transitory and prescient passage is over, Debussy gives us almost the same sound as measures 124-126. The one item missing is the bassoon duplicating the melody. Now it is only the two solos instruments, flute and violin, as the movement ends.

This last pattern sets up the rhythm for much of the remainder of the movement. Note how Debussy backs off the orchestra. This new rhythm is played only by violas and cellos with the castanets and tambourine providing a bit of percussive support.

Trapped inside my apartment, I saw photography as the perfect outlet to express my emotions through the play of colours, textures and architecture.1 - Scarlet Cabin Fever - Sitting and lazing around was the result of feeling unmotivated and uninspired after being cooped up at home for months. 2 - The Tea House - Craving for that taste of refreshingly crisp mountain air.3 - Hommage Debussy - This blue triptych is inspired by the music of Claude Debussy. From left to right:- Nuages; Clair de lune and Les parfums de la nuit.4 - The Rock Garden - Hope is what lifts the spirit up.

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