{"id":44105,"date":"2024-06-21T13:28:30","date_gmt":"2024-06-21T11:28:30","guid":{"rendered":"http:\/\/f83b13aa-ba2f-4f1b-a1d8-843f049d12f9"},"modified":"2024-06-25T12:36:13","modified_gmt":"2024-06-25T10:36:13","slug":"the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear\/","title":{"rendered":"The work that tore up the orchestral rulebook&#8230; and the version you need to hear"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Friday, 21 June 2024 at 11:28 AM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>It&#8217;s a sultry, Impressionistic orchestral masterpiece. But it&#8217;s much more than that. The <em>Pr\u00e9lude \u00e0 l&#8217;apr\u00e8s-midi d&#8217;un faune<\/em>, by the great French composer <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/claude-debussy\/\">Claude Debussy<\/a><\/strong>, was what we&#8217;d now call a &#8216;disruptor&#8217; to the musical landscape of the very late 19th and early 20th century. With its apparent lack of structure and almost improvisatory feel, it deserves the epithet given by one famous fellow French composer, that \u2018modern music was awakened by <em>L\u2019apr\u00e8s-midi d\u2019un faune<\/em>\u2019.<\/p><h2 class=\"wp-block-heading\" id=\"h-what-is-debussy-s-prelude-a-l-apres-midi-d-un-faune\"><strong>What is Debussy\u2019s <em>Pr\u00e9lude a l\u2019apr\u00e8s-midi d\u2019un faune<\/em>?<\/strong><\/h2><p>It is a symphonic poem (or <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-tone-poem\">tone poem<\/a><\/strong>), based on St\u00e9phane Mallarm\u00e9\u2019s 1865 poem <em>L\u2019apr\u00e8s-midi d\u2019un faune<\/em>. Beginning with an alluring, chromatic solo on the flute, it then intoxicates the listener over ten minutes with its lushly layered score depicting a faun enjoying the pleasures of a warm afternoon.<\/p><script src=\"https:\/\/cdn.jwplayer.com\/players\/YCjcY8vg-lqFafnwo.js\"\/><h2 class=\"wp-block-heading\" id=\"h-when-did-debussy-compose-the-prelude-a-l-apres-midi-d-un-faune\"><strong>When did Debussy compose the <em>Pr\u00e9lude a l\u2019apr\u00e8s-midi d\u2019un faune<\/em>?<\/strong><\/h2><p>Debussy first began toying with the idea of writing music based on Mallarm\u00e9\u2019s poem in 1890. Discarding one or two more grandiose ideas along the way, he completed the <em>Pr\u00e9lude<\/em> in 1894. Ironically, this orchestral portrayal of the heat of the summer sun was premiered in the heart of winter \u2013 in Paris on 22 December, 1894, conducted by Gustave Doret.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/debussy-for-beginners-the-best-works-by-debussy-to-introduce-to-classical-music-newcomers\">Debussy for beginners<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-at-just-ten-minutes-long-why-is-it-such-an-important-work\"><strong>At just ten minutes long, why is it such an important work?<\/strong><\/h2><p>In short, because it rewrote the rulebook. Although various musical cells are repeated throughout, there is no apparent structure to the work, and at times it appears almost improvised. Many years later, composer <a href=\"https:\/\/www.classical-music.com\/features\/composers\/pierre-boulez\/\"><strong>Pierre Boulez<\/strong><\/a> described its composition as a seminal moment, saying that \u2018modern music was awakened by <em>L\u2019apr\u00e8s-midi d\u2019un faune<\/em>\u2019.<\/p><ul><li><a href=\"http:\/\/www.classical-music.com\/article\/story-debussy-s-pr-ludes-1909-13\"><b>The story of Debussy's <em>Pr\u00e9ludes<\/em><\/b><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-what-is-the-prelude-a-l-apres-midi-d-un-faune-by-debussy-about\"><strong>What is the <strong><em>Pr\u00e9lude a l\u2019apr\u00e8s-midi d\u2019un faune<\/em><\/strong><\/strong> <strong>by Debussy about?<\/strong><\/h2><p>Like Mallarm\u00e9\u2019s poem itself, the imagery in Debussy\u2019s music is gloriously vague. A faun awakes from a dream on a sultry afternoon with images of beautiful nymphs floating around in his consciousness \u2013 were they real, or just imagined? After mentally pursuing these erotic but elusive objects of his desire for a while, the faun eventually sinks back into sleep. Beats your average afternoon in the office, frankly.<\/p><h2 class=\"wp-block-heading\" id=\"h-what-is-the-story-of-debussy-s-prelude-a-l-apres-midi-d-un-faune\"><strong>What is the story of <\/strong><strong>Debussy\u2019s <\/strong><strong><em>Pr\u00e9lude a l\u2019apr\u00e8s-midi d\u2019un faune<\/em><\/strong><strong>?<\/strong><\/h2><p>A young flautist blows a rough-sounding C sharp for a few seconds, dribbles down a scale and up another way, landing back on the bad note on which he began. The scale is foreign, exotic, oriental perhaps, with no sense of key. Next, a <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/what-is-a-harp\">harp<\/a><\/strong> enjoys a mildly discordant arpeggio, and horns undulate aimlessly in the background. Separated by puzzling silences, the harp and horns repeat their initial gesture.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Debussy: Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune \u2219 hr-Sinfonieorchester \u2219 Alain Altinoglu\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/8UAYCubihlc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>The flautist blows another C sharp (the bad note, unfingered, as anyone who has ever had a lesson on the flute might know). He spins more ornamental phrases: one might call them <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-arabesque\">arabesques<\/a><\/strong>. The chords beneath seem to be hung from the flute\u2019s long notes \u2013 pencilled in rather than driving the piece forward.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/the-best-flute-solos-in-orchestral-works\">Classical music's best flute solos<\/a><\/strong> <\/li><\/ul><p>Welcome to the world of Debussy\u2019s <em>Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune. <\/em>Now imagine the audience\u2019s reaction one evening in 1894 when it was given its first airing at Paris\u2019s Salle Harcourt. All this either captivated or repelled those listeners who couldn\u2019t understand anything that veered too far from traditional convention.<\/p><ul><li><a href=\"http:\/\/www.classical-music.com\/article\/story-debussy-s-jeux\"><strong>The story of Debussy's <em>Jeux<\/em><\/strong><\/a><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-the-glimmer-of-a-new-dawn\">'The glimmer of a new dawn'<\/h3><p>Those with more open minds saw the glimmer of a new dawn, the shimmering orchestral colour changing kaleidoscopically; strings <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-tremolo\">tremolando<\/a><\/strong><\/em> bowed over the fingerboard, <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/what-are-woodwind-instruments-meet-the-members-of-the-woodwind-family\">woodwind instruments<\/a><\/strong> melting one into another, and again those touches from the harp\u2026 Such sensuality!<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Debussy: Pr\u00e9lude \u00e0\u00a0 l'apr\u00e9s-midi d'un Faune | Fran\u00e7ois-Xavier Roth &amp; London Symphony Orchestra\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/jlLoXvamfZw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Those that realised that this piece was a landmark may have noticed that it transcended any previous concepts of how music could be close to a literary text without being a narrative symphonic poem: certainly groundbreaking in this respect.<\/p><p>Originally a dramatic scene in a rhymed and rhythmic form, Mallarm\u00e9\u2019s <em>Afternoon of a faun<\/em> tells of a faun\u2019s vain attempts to seduce two nymphs, one rather shy, and one more forward.<\/p><p>His antics take place against the backdrop of a hazy, humid landscape of rushes and reeds. A <strong><a href=\"https:\/\/www.classical-music.com\/features\/instruments\/whats-a-cello\">cello<\/a><\/strong> in the score of the <em>Pr\u00e9lude \u00e0 l'apr\u00e8s-midi d'un faune<\/em> by Debussy seems to imitate a frog, and above there are some bird calls. Trilling woodwind recall the \u2018Forest Murmurs\u2019 of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/richard-wagner\">Wagner<\/a><\/strong>\u2019s opera <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-wagner-siegfried\">Siegfried<\/a><\/strong><\/em>.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/six-best-pieces-music-inspired-birdsong\">Birdsong in classical music: how birds have influenced and inspired the great composers<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-the-key-role-of-the-flute\"><strong>The key role of the flute<\/strong><\/h2><p>In the poem the faun not only plays the flute: he has made it himself, fashioning it out of a reed. He tunes it and voices it, refining it to the point where it becomes an instrument of seduction. If it\u2019s properly tempered, the nymphs will, despite themselves, succumb. Our concert flautist isn\u2019t just portraying the faun: he is the faun.<\/p><p>Even in his early twenties Debussy was drawn to the idea of \u2018real\u2019 music within the music. An early setting of part of a verse-play <em>Diane au bois<\/em> (Diana in the woods) by Th\u00e9odore de Banville has Eros as the protagonist.<\/p><p>He, like the faun, takes a flute and plays a <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-a-melody\">melody<\/a><\/strong> so wonderful that Diana, the goddess of both hunting and chastity, melts at his advances. Mallarm\u00e9 heard Debussy\u2019s piece and wrote to congratulate him finding \u2018no conflict with his text\u2019. Quite the reverse, in fact. For him Debussy\u2019s music \u2018went still further into the poem\u2019s nostalgia and light, with finesse, malaise and richness\u2019.<\/p><p>Its innovations must have been obvious to the first audience: its saving of the full orchestra for most of the piece; its delight in almost <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-chamber-music\">chamber music<\/a><\/strong> textures; and its deliquescent ending. Such elements were admiringly singled out by several 20th-century composers.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/whats-the-difference-between-chamber-music-and-orchestral-music\">What\u2019s the difference between chamber music and orchestral music?<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-what-did-other-composers-think-of-the-prelude-a-l-apres-midi-d-un-faune-by-debussy\"><strong>What did other composers think of the<\/strong> <strong><em>Pr\u00e9lude a l\u2019apr\u00e8s-midi d\u2019un faune<\/em><\/strong> <strong>by Debussy?<\/strong><\/h2><p><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/leonard-bernstein\/\">Leonard Bernstein<\/a><\/strong> discussed the piece at length in his 1970s Harvard lectures finding \u2018not just stylistic but radical change: Mallarm\u00e9\u2019s dream come true\u2019. Even in the faun\u2019s first notes he found that malaise the poet identified.<\/p><p>For Pierre Boulez, it was again the poem which was the catalyst for this \u2018miracle of proportion, balance and transparency: the awakening of modern music\u2019. His emphasis on the formal reminds us of Debussy\u2019s interest in proportion, evident in Faune through his teasing number-game of capturing the 110 lines of the poem with exactly the same number of bars.<\/p><p>Another marker of its innovations was its lively afterlife when Nijinsky revived it as a ballet with novel pseudo-Hellenistic choreography. Debussy disapproved, but the synthesis of gesture, costumes, music and the wonderful L\u00e9on Bakst backdrop have secured it a special place in ballet history.<\/p><ul><li><a href=\"http:\/\/www.classical-music.com\/article\/story-debussys-pell-et-m-lisande\"><b>The story of Debussy's <em>Pell\u00e9as et M\u00e9lisande<\/em><\/b><\/a><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-why-do-we-play-it-so-slowly-today\">'Why do we play it so slowly today?'<\/h3><p>Our new century awaits an exciting future for the piece. What did it sound like at its first performance with all those wind instruments of the time: Buffet clarinets, Louis Lot flutes and Erard harps? And what kind of a sound did that 18-year-old flautist make at the piece\u2019s premiere? (He was, by the way, none other than George Barr\u00e8re, later to champion the platinum flute and persuade Edgar Var\u00e8se to write a solo piece for him, named after its density, 21.5).<\/p><p>And why, incidentally, do we play it so slowly today? Our faun has slowed down during the century \u2013 perhaps the poor chap\u2019s in need of a dose of Viagra. Early recordings and a tempo-marking by Debussy suggest it was originally played in a more fleeting way. It seems more logical that it should float above and not sound too consummate: in the poem the faun never gets his nymphs, and reverts to wondering whether the whole event wasn\u2019t just a waking dream\u2026<\/p><h2 class=\"wp-block-heading\" id=\"h-did-you-know\"><strong>Did you know?<\/strong><\/h2><p>In 1912, the great Russian dancer Nijinsky choreographed the work as a ballet, playing the part of the faun himself at the premiere given by Diaghilev\u2019s <strong><a href=\"https:\/\/www.classical-music.com\/articles\/ballets-russes-guide\">Ballets Russes<\/a><\/strong> company. Nijinsky didn't hold back, and the production caused a major stir.<\/p><p>That 1912 Ballets Russes season also featured the premiere of another major work: the sensuous, exotic ballet <em><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/ravel-daphnis-et-chloe-guide-and-best-recordings\"><strong>Daphnis et Chlo\u00e9<\/strong><\/a><\/em> by Debussy's compatriot Maurice <strong><a href=\"https:\/\/www.classical-music.com\/articles\/ballets-russes-guide\">Ravel<\/a><\/strong>. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/best-ballet-music\">The finest ballet scores of all time<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-best-recording-of-debussy-prelude-a-l-apres-midi-d-un-faune\"><strong>Best recording of Debussy<\/strong> <strong><em>Pr\u00e9lude a l\u2019apr\u00e8s-midi d\u2019un faune<\/em><\/strong><\/h2><p>There are plenty of gorgeous, opulently sensuous recordings of the Pr\u00e9lude in the catalogue. For sheer orchestral lushness, though, we'd opt for the 1976 recording by the Royal Concertgebouw Orchestra (one of the <strong><a href=\"https:\/\/www.classical-music.com\/articles\/worlds-best-orchestras\">best orchestras in the world<\/a><\/strong>) and their distinguished longtime conductor <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/bernard-haitink\">Bernard Haitink<\/a><\/strong>. Conductor and orchestra achieve an extraordinary delicacy in this work, creating a feverish, almost otherworldly atmosphere. <\/p><p>Better still, it forms part of a delicious all-Debussy survey by these forces, also including <strong><a href=\"https:\/\/www.classical-music.com\/articles\/best-recordings-debussys-images\">Images<\/a><\/strong>, <em><a href=\"https:\/\/www.classical-music.com\/features\/works\/quick-guide-debussys-la-mer\"><strong>La mer<\/strong><\/a><\/em> and 3 <strong><a href=\"https:\/\/www.classical-music.com\/articles\/debussys-nocturnes-story\">Nocturnes<\/a><\/strong>.<\/p><p>Royal Concertgebouw Orchestra \/ Haitink<\/p><p>On <strong><em>Debussy: Orchestral Music<\/em><\/strong> - Philips 438 7422 (2 discs)<\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/Debussy-Orchestral-Music-Images-Nocturnes\/dp\/B00000417P\/ref=sr_1_2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Buy from Amazon<\/a><\/strong><\/li><\/ul><p> <\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Friday, 21 June 2024 at 11:28 AM It&#8217;s a sultry, Impressionistic orchestral masterpiece. But it&#8217;s much more than that. The Pr\u00e9lude \u00e0 l&#8217;apr\u00e8s-midi d&#8217;un faune, by the great French composer Claude Debussy, was what we&#8217;d now call a &#8216;disruptor&#8217; to the musical landscape of the very late 19th and early 20th century. With [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":44106,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"7"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear.png",2038,1358,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear-150x150.png",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear-300x200.png",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear-768x512.png",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear-1024x682.png",800,533,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear-1536x1023.png",1536,1023,true],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/06\/the-work-that-tore-up-the-orchestral-rulebook-and-the-version-you-need-to-hear.png",2038,1358,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Friday, 21 June 2024 at 11:28 AM It&#8217;s a sultry, Impressionistic orchestral masterpiece. But it&#8217;s much more than that. The Pr\u00e9lude \u00e0 l&#8217;apr\u00e8s-midi d&#8217;un faune, by the great French composer Claude Debussy, was what we&#8217;d now call a &#8216;disruptor&#8217; to the musical landscape of the very late 19th and early 20th century. With&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/44105"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/44106"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=44105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=44105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}