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Claude Debussy (1862 - 1918)
La Mer, L. 109
I. De l'aube a midi
sur la mer
II. Jeux de vagues
III. Dialogue du vent et de la mer
La Mer was Debussy's next major
orchestral work after the Nocturnes, and it is very different.
It is subtitled "Three Symphonic Sketches" and
is the nearest Debussy came to writing a symphony. Though
it avoids sonata form and any recognisable formal structures,
it is recognisably in D-flat, it has three clear movements
of which the second is a sort of scherzo, and all the
main themes are closely related to each other.
He began work on La Mer in 1903 and finished it in March
1905. This was a time of personal emotional crisis for
Debussy: in July 1904 he left his wife for another woman,
with whom he fled from Paris, and spent most of the summer
in Jersey and at Dieppe on the Channel coast. His new
love, Emma, fired his inspiration for many later works,
but it cost Debussy dearly in lost friends and public
esteem. When La Mer was first performed in 1905 it was
not a success, partly because the orchestra could not
understand it and played it badly, but also because news
of his affair had only recently come out, and performers
and audience were frankly unsympathetic. However it soon
established its current reputation as a masterpiece, both
of French music in particular and 20th century music in
general.
The first movement opens quietly, the sea rocking gently.
An oboe picks out a simple motto; then the cor anglais
and trumpet outline a longer theme. One of the reasons
for the unity of the work is that these two simple themes
are the source for almost all the music in La Mer. The
tempo picks up and the key drops to D-flat for the first
main section, the sea now rippling more busily. This develops
and becomes quite agitated before it subsides, and a new
theme is given out boldly by the cellos. This gives rise
to a longer section and a bigger climax, constantly underpinned
by a rocking figure. This subsides and after a brief period
of flat calm, the coda hints at the great, but still latent,
power of the sea.
Play of the Waves is a swift and complex movement, the
most 'modern' of La Mer. Themes are never dwelt on for
long but quickly tossed away, and the sound of the particular
instruments is fundamental to the music. The scoring is
delicate and subtle, mostly fairly quiet, all sparkling
air and light. Despite one major climax towards the end,
it fizzles out as airily as it began.
The last movement has terrific drive and even when quiet
we really feel the power of the sea unleashed. The tunes
are closely based on those of the first movement, even
played on the same instruments at the beginning - oboe
and muted trumpet. Then, above a choppy wave pattern in
the strings, a long theme, sustained and flexible, represents
the wind. We hear siren notes in the horns and a long
crescendo to a big climax. Then a calm interlude and,
with a sense of homecoming, D-flat major is re-established.
We now sum up the whole work - first calm, then powerful,
and finally with a breathless energy that hurls us to
the conclusion. |
