As Debussy enters his 150th anniversary, some of the most innovative names in music have teamed up to give DJs the chance to remix an entire orchestra.
Known for challenging classical conventions, the Orchestra of the Age of Enlightenment (OAE) have released rare recordings of Sir Simon Rattle conducting a rehearsal of Debussy’s La Mer. Judged by French electronic artist and BBC Radio 6 music favourite Chapelier Fou, the Dubussy Remix contest is aimed at giving new artists the chance to have as much fun as they like with a well known classical piece.
Dubussy is the OAE’s way of exploring how a structural pioneer like Debussy, inspired experimental DJs like Chapelier Fou and Flying Lotus and what comes out when these genre’s are thrown together.
“Structural things are useless in Debussy’s music…and it’s just for the love of sound…it’s almost something that you can touch. I wasn’t interested in classical music until I discovered Debussy”
All entries must be in by 30 October 2012 with each track being between 3 and 5 minutes long.
1st Prize (to be chosen by Chapelier Fou) will receive four free tickets to The Night Shift – the OAE’s relaxed, rules free classical night on 22 November: www.oae.co.uk/thenightshift ; a bag of The Night Shift and Chapelier Fou goodies and the opportunity to be name-checked on all OAE and Chapelier Fou social media sites, as well as having your track premiered by our Night Shift DJ at a future gig.
2nd Prize (As voted for by the public) will receive two free tickets to the Night Shift and a selection of OAE and Night Shift prizes.
For more information please contact Matthew Grindon, Press Assistant, The OAE, on 0207 239 9373 or email email@example.com
2012 is the 150th anniversary of the birth of Claude-Achille Debussy (22 August 1862–25 March 1918), and, all being well, there will be plenty of performances of his fabulous music to celebrate the occasion.
2011 was of course Franz Liszt’s year, but despite many fine performances to mark the occasion (a couple of which I was fortunate enough to attend – reviews here and here), I suspect the case for Liszt still needs pleading (not something Debussy need worry about, given the perennial popularity of his music). Much of Liszt’s music remains obscure or impenetrable, or simply totally ‘over the top’ to many listeners and performers, and a common misconception remains that much of his music is unplayable, except by top flight virtuosi.
Not so the music of Debussy, which is accessible and generally easy on the ear, and which can be enjoyed by the proficient amateur as well as the professional musician. I can’t remember how old I was when I first heard Debussy’s music: I suspect it may have been a recording of La Mer, a richly evocative piece completed in 1905, after the composer enjoyed a stay at the English seaside resort of Eastbourne. The first piano piece by Debussy I learnt was a simplified version of the languorous Prélude ‘La fille aux cheveux de lin’ (‘the girl with the flaxen hair’); my father and I also played a clarinet and piano version of this, and later I learnt the original piano version. In my teens, I learnt another of the Préludes, ‘La cathédrale engloutie’ (‘the submerged cathedral’), in which the composer evokes the ancient Breton legend of the cathedral of Ys, which was said to rise from the waves, with its bells tolling, priests chanting, and the organ playing. Subsequently, I’ve dabbled with other Préludes, some of Children’s Corner, and the first two movements of the suite Pour le Piano. This year I’ll be learning more, probably the Hommage à Rameau, more Préludes, and the Valse Romantique.
Together with Maurice Ravel, Debussy is considered to be one of the most prominent figures in the “impressionistic” movement, though he himself disliked the term intensely when applied to his compositions. It is too sweeping a term, making a strong connection with Impressionist painters such as Claude Monet (the Dover editions of Debussy’s piano music have reproductions of paintings by Monet on their covers), and suggesting that Debussy’s music is all about blurred edges and misty harmonies. In a letter from 1908, Debussy described his music as being “an effect of reality”. His musical influences and style are far wider, and his early music demonstrates his interest in the Symbolist movement of art and literature with its dreamy, often morbid romanticism. Already, he was experimenting with harmonic colour, the use of whole-tone scales, and a move away from strictly classical forms of musical construction towards music with a single, continuous theme.
At times, he seems the natural heir to Chopin, with his sensitive approach to melody, filigree passagework and articulation, and fioriture, and his music bridges the gap between the Romantic period and the twentieth-century. In other works, he looks back to ancient music such as Gregorian chant, or East to Javanese gamelan music. In Pour le Piano, he makes direct reference to his French Baroque antecedents in both the organisation and style of the material. His two books of Préludes are related to Bach’s and Chopin’s, but they are impressionistic tone poems, their titles suggesting literary or artistic stimuli. Each is complete within its itself, but by including the title at the end of the piece, Debussy implied a “story” within the music. Meanwhile, his Prélude à l’après midi d’un faune is a revolutionary work, both in style and execution, perhaps the first piece of truly ‘modern’ music, and demonstrating the key features of his music: uncertain or parallel harmonies, unprepared modulations which lack a harmonic ‘bridge’, the use of harmony and chord progressions for colour and timbre, and the use of whole-tone and pentatonic scales.
Debussy is regarded as one of the most influential composers of the twentieth century. His use of harmony had a direct influence on composers such as Ravel, Stravinsky, Bartok, Messiaen, Boulez, as well as the minimalist composers Steve Reich, Philip Glass and Toru Takemitsu, and jazz musicians including George Gershwin, Bill Evans and George Shearing.
Today, in performance, his piano music in particular seems to “suffer” occasionally from too impressionistic a reading: there is a misconception that all his music is dreamy, fluid and gentle. It was, compared to the style prevailing at the time of its composition, but we have almost gone too far now. In any event, I am sure we can look forward to plenty of varied performances this year.
I expect everyone has their favourite works by Debussy. I list a handful of my own here:
La plus que Lente (literally “as slow as can be”). A decadent, tender and languorous cocktail waltz, full of subtle ambiguities and sly ironies.
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