Debussy - Nocturnes: Nuages, Fêtes, Sirènes (reference recording: Eduard van Beinum / Remastered)
Full Album available// Debussy: Nocturnes, La Mer by Eduard van Beinum
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Claude Debussy (1862-1918) Les Nocturnes
00:00 Trois Nocturnes, L. 91: I. Nuages (2024 Remastered, Amsterdam 1957)
06:54 Trois Nocturnes, L. 91: II. Fêtes (2024 Remastered, Amsterdam 1957)
12:42 Trois Nocturnes, L. 91: III. Sirènes (2024 Remastered, Amsterdam 1957)
Collegium Musicum Amsterdam (Sirènes)
Royal Concertgebouw Orchestra
Conductor: Eduard van Beinum
Recorded in 1957, at Amsterdam
New mastering in 2024 by AB for
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*** PRESENTATION EN FRANÇAIS: VOIR COMMENTAIRES DE LA VIDÉO***
COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT
The premiere of the first two Nocturnes, “Nuages“ and “Fêtes“, at the Concerts Lamoureux on December 9, 1900, revealed Debussy’s name to the general public. The work delighted both the audience and the critics. It was at this time that the myth of “impressionist music“ emerged among those anxious to link a still new and disconcerting art to an established phenomenon. This rather vague notion served for nearly fifty years to obscure the Debussy revolution behind a rosy smoke screen. The composer, it is true, somewhat contributed to this convenient misunderstanding by offering some pictorial comments about the Nocturnes:
The title Nocturne is meant to take on a more general and especially more decorative sense here. It is not the usual form of a Nocturne, but everything that this word contains in terms of impressions and special lights. “Nuages“: it is the immutable aspect of the sky with the slow, melancholy march of the clouds, ending in a gray agony, softly tinged with white. “Fêtes“: it is the movement, the dancing rhythm of the atmosphere with bursts of sudden light, it is also the episode of a procession (dazzling and chimerical vision) passing through the festival, blending into it; but the background remains, persists, and it is always the festival and its mixture of music, luminous dust participating in a total rhythm. “Sirènes“: It is the sea and its countless rhythms, then, among the moonlit waves, the mysterious song of the sirens is heard, laughing and passing by.
If this text reveals an aspect of Debussy, it is mainly that of the literate, tireless letter-writer, who would later find a way to express himself in musical criticism. The third Nocturne, “Sirènes“, includes a women’s choir. The work was only performed in its entirety the following year (October 1901); and since then, the triptych was often amputated, for material reasons, of its third piece.
An image of the abyss that separated Debussy from the dogmatists of contemporary official music is offered by a comical letter in which Vincent d’Indy wonders under which category to classify the Nocturnes for his Composition course: “Sonata? Never! Despite Marnold’s efforts to punch them into this mold. Suite? No more. Symphonic poem? Despite the titles “Nuages“, “Fêtes“, “Sirènes“... very vague denominations, no literary program, no dramatic explanation comes to authorize the tonal deviations and pleasant but uncoordinated thematic excursions of these three pieces. It is therefore beautiful and good fantasy, for we cannot reject these works for poor workmanship... They are artistic, they exist, therefore they must be classified by us; where? in the fantasy, I see no other place...”
Despite d’Indy’s obstinacy in seeing this work as a hybrid form, the three movements of the Nocturnes present reciprocal coherence links. They also obey the classical laws of alternation, since this triptych is composed of two moderate movements framing a lively movement.
Other Album Available // Debussy: La Mer, Images, Nocturnes & Orchestral Works Manuel Rosenthal
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