Overview
L’Élégie , often referenced as CD 146 (or L. 138 in another catalog), is a short and poignant piece for solo piano composed by Claude Debussy in December 1915, in the midst of the First World War.
is a general overview of this work:
Genre and Instrumentation: It is a piece for solo piano in the elegy genre , a musical form generally associated with lamentation or the expression of pain.
Background: It was written against the dark backdrop of the First World War, a difficult time for the composer , both personally and creatively. It was originally published in a collection of facsimiles entitled Pages in édites sur la femme et la guerre in 1916.
Character : The piece is characterized by an atmosphere of slowness, pain, and stripping away. The tempo indication is often “lent, douloureux mezza voce, cantabile espress.” (slow, painful in medium voice, singing expressively).
Musical writing:
The writing is often described as “lurking in the bass,” with a long lament entrusted to the left hand.
The harmonies are stripped down, contributing to a feeling of coldness and emptiness.
The piece is relatively short , with an average running time of about two minutes.
It ends with a final dissonance that expresses a feeling of incompleteness or non-resolution, reinforcing the painful aspect of the elegy .
In summary , Debussy’s Élégie is a late and concise work, distinguished by its somber atmosphere and concentrated expression of suffering, reflecting the artist’s state of mind during the world conflict .
History
The story of Claude Debussy’s Él égie , CD 146, is intrinsically linked to the dark context of the First World War, a period which deeply affected the composer both morally and physically.
Debussy wrote this short piece for solo piano in December 1915. At that time, war was raging and France, like the rest of Europe, was in distress. The composer, already seriously ill (he was suffering from cancer), felt a deep melancholy and anxiety exacerbated by the situation.
The work was not commissioned for a concert, but for a charity publication intended to support the war effort or to honor those who were suffering. It appeared in facsimile in December 1916 in an album entitled Pages in édites sur la femme et la guerre, a “Livre d’or” dedicated to Queen Alexandra (the wife of King Edward VII). Of all the musicians approached, only Debussy and Saint-Saëns responded to this appeal.
The Él égie is thus one of Debussy’s rare “War Works,” joining the Berceuse héro ï c of 1914. In its 21 concise bars, it presents itself as a poignant testimony to his own pain and that of the nation. The indication “lent, douloureux mezza voce, cantabile espress. ” (slow, painful in medium voice, singing expressively) and its somber, almost funereal writing make it the musical expression of a contained mourning, far from any ostentatious heroism . It remains one of the last pieces for solo piano written by the composer before his death in 1918.
Characteristics of Music
Él égie (CD 146) is a late and brief work for piano distinguished by a musical aesthetic of great sobriety , conveying a feeling of profound sadness and stripping away.
Tempo and expression:
The most striking feature lies in the indication of the performance given by Debussy himself : “lent, douloureux mezza voce, cantabile espress. ” (slow, painful in medium voice, singing expressively). This slow tempo and the restrained dynamics (mezza voce, meaning in a half-voice) give the piece an atmosphere of contained grief and intimacy. The pain is suggested not by dramatic outbursts, but by a continuous lament.
Melody and Register:
The main melody, often played by the left hand or in the lower register of the piano, is described as a “long lament.” This placement in the lower register reinforces the dark and meditative character of the work, as if sadness were “lurking” deep within the instrument. The ornamental notes that sometimes “enliven” this melodic line add slight bursts of pain.
Harmony and Sonority :
The harmony is particularly spare and austere . Unlike some of Debussy’s more colorful impressionist works, this one uses chords and sequences that are both simple and poignant. The sobriety of the harmonies creates a feeling of emptiness and coldness, an echo of the composer’s despair during the war.
Form and Conclusion:
The work is very short , comprising only about twenty bars. It is distinguished by its lack of conventional resolution. It ends with a final dissonance, a note or chord that refuses completion . This suspension, or “refusal of completion ,” seals the tragic character of the piece , leaving the listener with a feeling of pain and inconclusiveness. It is a work that favors conciseness and emotional intensity over extended thematic development .
Style(s), movement(s) and period of composition
Él égie (CD 146) is situated at the crossroads of several influences from modern music of the early 20th century.
Period and Movement:
The work was composed in 1915, during the First World War, which clearly places it in the modernist period (or 20th Century Music ) .
The composer is the emblematic figure of musical impressionism, and a large part of his work is defined by this movement, characterized by the primacy of timbre, atmosphere , and the use of non-traditional scales (pentatonic, whole-tone).
However, the Élégie , like Debussy’s other late works (notably the Sonatas), also shows a return to a certain formal sobriety and expressive austerity . Although it still uses Debussy’s innovative harmonic language, its somber, spare character and its direct, painful expressiveness distance it from the light , scintillating aesthetic often associated with the Impressionism of his middle period . Some musicologists place it in a phase of late modernism or transition to a more neoclassical style in its conciseness, although the expression remains profoundly post-romantic in the intensity of its melancholy .
Novelty and Style:
At the time of its composition in 1915, Debussy’s music was considered the pinnacle of innovative style. He was the master who had freed harmony from traditional rules .
Innovative in its harmonic language: the use of unresolved final dissonance and the search for new sound colors .
Modern in its date and its break with romantic structures.
Post-romantic in its expressive background, because it is a lamentation, a cry of pain and intense mourning, even if the musical means are those of modernism.
It is neither baroque nor classical, and is a reaction against the opulence of Wagnerian romanticism .
In summary , the Élégie is an innovative, modernist work from the end of Debussy’s life, which uses the tools of Impressionism in a restrained way to express a post -Romantic emotion of mourning and despair.
Analysis: Form, Technique(s), Texture, Harmony, Rhythm
The analysis of Claude Debussy’s Élégie (CD 146) reveals a piece of great expressive concentration , using minimalist and innovative writing techniques for the time.
Method and Technique
The main technique used is a stripped-down piano writing, aimed at creating an atmosphere of mourning and restrained sadness. The compositional method is in line with Debussy’s late harmonic language, favoring sound colors and aggregates over the classical tonal function.
The piece is characterized by the use of dissonance and ornamental notes which, according to analyses, “enliven” the lament of the main line. The indication “lent, douloureux mezza voce, cantabile espress. ” (expressive singing) shows that Debussy demanded an extremely controlled and expressive playing method , favoring sonority and nuance (mezza voce) over virtuosity or open drama.
Form and Structure
The Élégie is an extremely brief and concise piece of form , spanning only 21 bars. Because of its brevity and unitary character , it does not follow a classical formal structure (such as sonata or clear ternary form), but opts for a structure that could be described as meditative and progressive, built around a single, somber musical idea .
The structure is defined by its lack of completion . It stops abruptly on a dissonance, suggesting grief or pain that is not resolved .
Musical Texture
The texture is essentially homophonic, but with elements that can evoke a richer texture. It is not polyphony (several independent melodic lines), nor pure monophony (a single line), but rather an accompanied melody where :
The left hand often establishes a low, dark complaint.
The right hand (or upper line) carries the main melody (cantabile espress.).
down and airy texture , where the chords, often spaced out, serve to give “color” and weight to the atmosphere rather than to progress tonally.
Harmony, Scale and Tonality
The harmony and tonality are typical of Debussy’s modernism and the influence of Impressionism, although in a darker register:
Tonality : The exact tonality is often ambiguous and fluctuating, characteristic of Debussy’s aesthetic where the tonal function is weakened. Some analyses suggest an atmosphere around D minor (re minore), but this tonality is never firmly established .
Harmony: The harmony is based on dissonant aggregates (ninth , eleventh , or quartal chords), often used for their timbre and color more than for their functional role ( tension/resolution). The score is notable for its harmonies, which are so stripped down that they create a feeling of emptiness.
Scale: Although not dominant, the use of the whole-tone scale or the pentatonic scale can be suggested or partially employed to blur the tonal function and create a floating and ethereal atmosphere , even if the context of the Élégie is darker than in other pieces by Debussy.
Pace
The rhythm is free and supple, marked by the indication slow and painful. It is not very square and does not present incisive rhythmic motifs. The musical time is characterized by a gentle progression and an absence of strict metric rigor, which contributes to the character of “plaint” and the suspension of the movement, avoiding any martial or heroic rhythm , in contradiction with the context of the First World War.
Tutorial, performance tips and important playing points
Debussy ‘s Élégie (CD 146) is a short but demanding piece in terms of interpretation , requiring absolute control of sound and emotion to convey its intimate character of mourning.
Here are some interpretation tips and important technical points.
1. Sound : The Heart of Interpretation
The first objective is to produce a sound suitable for the indication “lent, douloureux mezza voce, cantabile espress . ”
Tone Control (Touch): The sound should remain in the mezza voce ( half -voice) almost throughout the piece , avoiding any harshness. The touch should be supple, as if the fingers were sinking into the keyboard with resigned sadness .
The Low Register: Much of the melody and accompaniment is “hidden in the low register .” The performer must ensure that this low register remains clear and does not become muddy or muffled , even with the sustain pedal.
The Sustain Pedal: The use of the pedal must be extremely subtle. It must envelop the harmonies without ever obscuring them or letting them accumulate for too long. The change of pedal is crucial to maintain the “color ” of each dissonant chord.
2. Time and Rhythm: The Breath of Complaint
” tempo indication must be treated with great expressive freedom, but without falling into arbitrariness.
Expressive Rubato: The rhythm should be smooth, not ” square . ” The performer may use slight accelerandi and ritardandi to emphasize the ebb and flow of emotion, such as a sigh or a lament.
Tension and Release: The ornamental notes should be played as quick, light flashes of pain , “enlivening ” the long lament of the left hand. They create rhythmic and expressive tension before falling back into desolate calm .
Fluidity : Despite the slow tempo, the music must never stagnate. A constant melodic line and direction must be maintained, creating the illusion of a “rhythm without rigor . ”
3. Technique and Difficulties
The technical difficulties do not lie in speed, but in mastering the sound and the balance between the two hands.
The Balance of Voices: The “long lament of the left hand ” must be singing (cantabile), while the chords of the right hand serve as a harmonic halo, more discreet. The accompaniment must not dominate the melodic line.
Stripped Dissonances: The harmonies, although stripped down, contain harsh dissonances (chords without classical resolution). The pianist must play these chords with just intonation, so that the dissonance sounds “cold to the heart , ” without being crushed or aggressive .
The Left Hand in the Low Register: The accuracy and clarity of the touch of the left hand in the low register are essential for the solemnity of the Elegy .
4. The Final Point: The Absence of Resolution
One of the most important points of interpretation is the conclusion of the play .
The Sudden Stop : The piece ends with a suspended dissonance or a chord that refuses tonal resolution. The performer must manage this ending in such a way that it is not perceived as a simple stop , but as the expression of a pain that is not appeased .
The Final Nuance: The silence that follows the last sound is as important as the sound itself . The last note or chord must fade away in a feeling of abandonment and solitude.
Successful piece or collection at the time ?
Él égie (CD 146) was not a successful piece or a mainstream commercial success in the sense that some of his other works (such as Clair de Lune or Arabesques) are considered. Its publication context and style have a lot to do with this.
1. Publication Context and Low Initial Success
The Élégie was not originally published as a solo piano score intended to be widely sold and performed in salons or at concerts.
Exceptional publication: The work was composed in 1915 and published in facsimile in December 1916 in a luxury collection entitled “ Unpublished Pages on Women and War. Golden Book Dedicated to HM Queen Alexandra ” .
Charitable purpose: This book was a limited edition intended to be sold by subscription (print run of one thousand copies), for the benefit of war orphans during the First World War. The purpose was philanthropic, not commercial.
Restricted distribution: Its publication in a limited edition Golden Book naturally restricted its distribution and immediate impact on the general public and amateur pianists, unlike pieces sold separately by music publishers.
2. Style and Reception
The style of the work itself was not conducive to easy and rapid success :
Late and Dark Style: This is a late work by Debussy, very brief and of concentrated austerity and pain, far from the brilliance of some of his earlier Impressionist pieces. Its “stripped-down” character and unresolved ending are emotionally intense but do not correspond to the expectations of an audience looking for a virtuoso or immediately melodious piece .
Conclusion on Sales
It is therefore very likely that sales of the original scores of the Élégie were limited to those who subscribed to the charity album. It only became widely available and known with its later publication by music publishers (such as Jobert in 1978, and later Henle), where it was reinstated in the complete repertoire of Debussy ‘s piano works.
It was not a piece that made headlines or sold well upon its release, but its value was subsequently recognized as a poignant and essential work from Debussy ‘s later period .
Famous Recordings
Élégie (CD 146), because of its brevity and lateness , is often included in recordings of complete works or collections of piano works, rather than being a flagship piece sold separately .
Here is a list of notable solo piano recordings, arranged by performing tradition:
Historical and Great Tradition Recordings
Since the piece was composed late (1915), it did not benefit from direct recordings by Debussy’s immediate contemporaries like other older works. Recordings from the French and European “grand tradition” are crucial to its legacy .
Walter Gieseking: A representative of the great French piano tradition ( despite his German origins), Gieseking is famous for his ethereal and colorful touch in Debussy. His recordings are often cited as references for atmosphere and nuances.
Monique Haas: French pianist renowned for her structural clarity and sonic finesse in the French repertoire . Her interpretation is often considered standard for its respect for text and color.
Samson François : An emblematic figure of the French school , known for his bold interpretations, often freer and full of passion, which can bring a more dramatic dimension to the melancholy of the work .
Standard and Contemporary Recordings
These pianists often recorded the complete or significant collections of Debussy, offering readings considered modern references .
Daniel Barenboim: He included the Élegie in his recordings, generally offering a more ample and reflective reading , sometimes with a gravity and sonic depth that underline the sorrowful character of the work .
French pianist renowned for his clarity , his luminous sound and his intellectual but always poetic approach to the French repertoire . His interpretation of Debussy’s late pieces is highly appreciated .
Jean-Efflam Bavouzet: In his acclaimed collection of Debussy’s complete piano works, Bavouzet pays meticulous attention to rhythmic and harmonic detail, delivering a performance that is both precise and deeply expressive.
Steven Osborne: Known for the clarity and sobriety of his playing . His approach tends to emphasize the harmonic structure and concise aspect of the piece , while maintaining the nuance necessary for the required mezza voce.
Alain Plan ès : A pianist who has often performed Debussy , he offers readings that are often intimate and highly sensitive to sound, adapted to the meditative and somber nature of the Élégie .
Episodes and anecdotes
L’Él égie (CD 146, or L 138 in the Lesure catalogue) is a short piano piece of particular importance in the work of Claude Debussy, mainly because of its context of composition and publication.
Here are some episodes and notable anecdotes about this play :
1. The Last Piece for Piano Solo
One of the most poignant anecdotes concerns the place of the Él égie in Debussy’s production.
The Swan Song for the Piano: Composed in December 1915, the Élégie is considered the last piece written by Debussy for solo piano.
The Dark Date: The composer dated the manuscript December 15, 1915. The next day, Debussy entered the hospital for a major operation to treat the intestinal cancer from which he suffered and which would kill him in 1918. This work is therefore intimately linked to his personal fight against the disease. For musicologists, it bears the weight of his physical and moral suffering.
2. A Play of War and Charity
The purpose of its initial publication sheds unique light on its austere character .
The Charity Collection: The work was commissioned for a luxury charity collection entitled ” Unpublished Pages on Women and War. Guestbook dedicated to HM Queen Alexandra ” . This book, published in 1916, was intended to raise funds for orphans of the First World War.
Rarity : Only two musicians who were asked to contribute original scores are said to have responded to the call: Camille Saint – Saëns and Claude Debussy. The rarity of this contribution makes the Élégie a unique piece , drawn from a wartime context, hence its brevity and somber tone.
The Facsimile Manuscript: The Élégie was originally published as a facsimile in Debussy’s own handwriting, an unusual publication that adds to its status as a historical and personal “document.”
3. The Music of Complaint
Musical commentators have often emphasized the stripped-down and suffering character of the piece .
Writing in the Grave: The musical texture of the Élégie is very characteristic of this late period of Debussy’s. It has been described as “writing lurking in the grave , ” with a long lament entrusted to the left hand. The work avoids the melodic effusions and shimmering colors of Impressionism, in favor of a harmonic concentration that evokes desolation .
Les Harmonies Dépouillées: The apparent, almost ascetic simplicity of its twenty-one bars, as well as its very stripped-down harmonies , led the analyst Ennemond Trillat to write that they “give you a chill to the heart ” , underlining the link between this music and the tragedy of war, as well as the composer’s personal despair.
The Él égie is therefore less a brilliant concert piece than a poignant testimony, an intimate farewell to the piano alone, written in the shadow of illness and war.
Similar compositions
Debussy’s Élégie (CD 146), short, somber, and spare, belongs to his late period, marked by the First World War and his own illness. The most similar works are therefore those that share this context, this character of contemplation , or this economy of writing .
Here are Debussy’s compositions closest to the Él égie in terms of context and atmosphere :
1. Charity or War Context Pieces (Contextual and Stylistic Similarity )
These pieces are his direct contemporaries and share the same spirit of sadness or sobriety .
“Evenings illuminated by the heat of coal” (1917, for piano)
It is one of Debussy’s last piano works.
It was written in gratitude for a delivery of coal made to him by a friend during the wartime shortages. The tone is melancholic, dreamy , and also bears the mark of the composer’s later life.
“Heroic Lullaby ” ( 1914, for piano or orchestra)
Composed to pay homage to King Albert I of Belgium and his soldiers.
Although the title suggests a “heroic” character , the work is in reality of a resigned melancholy , evoking a funeral dirge rather than a triumph, which brings it closer to the somber tone of the Elegy .
” Christmas for children who no longer have homes” (1915, for voice and piano)
Composed the same year as the Élégie , on a text by Debussy himself .
This work is a true war lament, expressing the anger and sadness of French children facing the enemy . The emotional and patriotic context is identical.
” Piece for the clothing of the wounded” (or Album Page, 1915, for piano)
Also written for a charity album, to benefit wounded soldiers, it is short and expressive, reflecting Debussy’s commitment to the French cause .
2. Preludes to the Elegiac Character ( Atmospheric Similarity )
The Elegia finds its emotional antecedents in Preludes ( Book I, 1910):
“Footsteps in the Snow” (Prelude I, No. 6 )
The tempo indication is “Sad and slow”, the same atmosphere of desolation and erasure of the melodic lines brings it directly closer to the complaint of the Elegy .
“Fogs” (Prelude II, No. 1 )
A piece of great tonal ambiguity , using a clever mix of white and black touches to create a grey and veiled atmosphere , which echoes the restrained sadness of the Élegie .
3. Works of the Last Period ( Late Style Similarity)
Debussy’s late music is characterized by greater formal clarity, more assertive contrapuntal writing, and harmonic sobriety (the “hardening of the notes ” ) .
The Twelve Studies (1915, for piano)
Composed just before the Elegy . Although the objective is technical, the approach is devoid of any unnecessary ornamentation and displays a structural rigor that is reflected in the conciseness and bareness of the Elegy .
The Sonata for Cello and Piano (1915, No. 1 of the Six Sonatas)
It shares the same compositional context (illness, war) and presents a stripped-down harmonic language, with melodic writing that sometimes borders on the grotesque or the painful, in contrast with Debussy’s earlier lyricism.
(This article was generated by Gemini. And it’s just a reference document for discovering music you don’t know yet.)
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