드뷔시 : 프렐류드 <1>

                            ●★ Claude Debussy : P r e l u d e s B o o k 1(12) ★●

 

                 ((Plays the Piano by Arthuro Benedetti Michelangeli))

 

 

                  ● Danseurs de Delphes* 델피의 무희들(3:15)

 

                  ● Voiles* 돛(4:26)

 

                  ● Le vent dans la plaine* 들판을 지나는 바람(2:06)

 

                  ● Les sons et les parfums fourent dans l'air du soir*

                     {소리의 향기가 저녁 공기속에 감돈다(3:36)}

 

                  ● Les collines d'Anascapri* 아나카프리의 언덕(3:14)

 

                  ● Des pas sur la neige* 눈위의 발자국(4:59)

 

                  ● Ce qu'a vu le ven d'Ouest* 서풍이 본것(3:28)

 

                  ● La fille cheveux de lin* 아마빛 머리의 소녀(2:48)

 

                  ● la serenade inferrompue* 끊어진 세레나데(2:39)

 

                  ● La Catheral engloutie* 가라앉은 사원(6:47)

 

                  ● La danse de Puck* 퓌크의 춤(3:10)

 

                  ● Minstrels* 민스트렐(2:29)

 

 

 

                                     

 

 

    ■ Arturo Benedetti Michelangeli ■

                            ((1920~1995 Brescia Lombardy Italy))

 

 

 

Arturo Benedetti Michelangeli
Born	5 January 1920 Brescia, Lombardy, Italy
Died	12 June 1995(1995-06-12) (aged 75) Lugano, Switzerland
Genres	Classical
Occupations	Pianist
Years active	c 1940s–1990s
Labels	Deutsche Grammophon and others
Website	www.arturobenedettimichelangeli.com

 

Arturo Benedetti Michelangeli (5 January 1920 – 12 June 1995) was a virtuoso Italian classical pianist. He is widely regarded as one of the greatest pianists of the 20th century, as well as one of the most important Italian pianists along with Ferruccio Busoni and Maurizio Pollini.

 

● Biography

Born in Brescia, Italy, he began music lessons at the age of three, initially with the violin, but quickly switched to the piano. At ten he entered the Milan Conservatory. In 1938, at age eighteen, he began his international career by entering the Ysaÿe International Festival in Brussels, Belgium, where he was placed seventh. (A brief account of this competition, at which Emil Gilels took first prize, is given by Arthur Rubinstein, who was one of the judges. According to Rubinstein, Michelangeli gave "an unsatisfactory performance, but already showed his impeccable technique.") A year later he earned first prize in the Geneva International Competition, where he was acclaimed as "a new Liszt" by pianist Alfred Cortot, a member of the judging panel, which was presided over by Ignacy Jan Paderewski.

The music critic Harold C. Schonberg wrote of Michelangeli:

His fingers can no more hit a wrong note or smudge a passage than a bullet can be veered off course once it has been fired...The puzzling part about Michelangeli is that in many pieces of the romantic repertoire he seems unsure of himself emotionally, and his otherwise direct playing is then laden with expressive devices that disturb the musical flow.^[1]

On the other hand, the Romanian conductor Sergiu Celibidache always saw in Michelangeli a colleague, and not merely another competent pianist: “Michelangeli makes colors; he is a conductor." The teacher and commentator David Dubal argued that he was best in the earlier works of Beethoven and seemed insecure in Chopin, but that he was "demonic" in such works as the Bach-Busoni Chaconne and the Brahms Paganini Variations.

His repertoire was strikingly small for a concert pianist of such stature. Owing to his obsessive perfectionism relatively few recordings were officially released during Michelangeli's lifetime, but these are augmented by numerous unauthorized recordings of live performances. Discographical highlights include the (authorized) live performances in London of Ravel's Gaspard de la nuit, Chopin's Sonata No. 2, Schumann's Carnaval, Op. 9 and Faschingsschwank aus Wien, Op. 26 as well as various recordings of Beethoven's Piano Concerto No. 5, Liszt's Piano Concerto No. 1 and Totentanz, and the piano concertos of Robert Schumann and Edvard Grieg. In addition, his playing of Ravel's Piano Concerto in G and Gaspard de la nuit set standards for those works. His reading of Rachmaninoff's Piano Concerto No. 4 is comparable to that of Rachmaninoff himself. His Debussy series for DG is something of a benchmark, even if it is sometimes accused of being a little unatmospheric ("swimming in cool water," in Dubal's words). He is also credited with the rediscovery of some works of Catalan composer Federico Mompou.

As a composer, Michelangeli wrote 19 Folksongs a cappella for the SAT men's chorus from Trent (Italy). As a teacher, his pupils included such world-class artists as Martha Argerich, Ivan Moravec, and Maurizio Pollini.

On September 20, 1943 Michelangeli married Giuliana Guidetti, whom he had met in Brescia, and who had later been a pupil of his. She was a valued counselor and secretary to her husband. She lived quietly, sharing time together at their villa in Bornato, near Brescia, or in Bolzano or Arezzo, and almost never appeared in public together with her husband, so that nearly nobody knew that Arturo Benedetti Michelangeli was married.

From 1970 on, his secretary Marie-José Gros-Dubois, twenty years younger than he, was faithfully near his side.

Michelangeli reputedly did not enjoy giving concerts. His wife, Giuliana, was his agent. She organized concerts and dates for him, and also presided over his financial affairs. In a recent interview, she remembered that her husband could not believe that his concerts were worth so much money. After a concert, she reported that he gloomily said: "You see, so much applause, so much public. Then, in half an hour, you feel alone more than before."

Michelangeli was a great connoisseur of the mechanics of the piano, and he insisted that his concert instruments be in perfect condition. His last concert took place on 7 May 1993 in Hamburg, Germany. After an extended illness he died in Lugano, Switzerland.^[2]

                             

      

 ● Preludes Book(I, II) : Claude Debussy ● 

 

Claude Debussy's Préludes are two sets of pieces for solo piano. They are divided into two separate livres, or books, of twelve preludes each. Unlike previous collections of preludes, like those of JS Bach and Chopin, Debussy's do not follow a strict pattern of key signatures.

 

Each book was written in a matter of months, at an unusually fast pace for Debussy. Book one was written between December 1909 and February 1910, and book two between the last months of 1912 and early April 1913.

 

● Premier Livre

 

Theme from Prelude no. 8  Play (help·info).

 

the famous "church bell chords" of Prelude #10

 

1. Danseuses de Delphes (Dancers of Delphi): Lent et grave
2. Voiles (Veils or sails): Modéré
3. Le vent dans la plaine (The Wind in the Plain): Animé
4. «Les sons et les parfums tournent dans l'air du soir» ("The sounds and fragrances swirl through the evening air"): Modéré
5. Les collines d'Anacapri (The Hills of Anacapri): Très modéré
6. Des pas sur la neige (Footsteps in the Snow): Triste et lent
7. Ce qu'a vu le vent d'ouest (What the West Wind has seen): Animé et tumultueux
8. La fille aux cheveux de lin (The Girl with the Flaxen Hair): Très calme et doucement expressif
9. La sérénade interrompue (Interrupted Serenade): Modérément animé
10. La cathédrale engloutie (The Submerged Cathedral): Profondément calme
11. La danse de Puck (Puck's Dance): Capricieux et léger
12. Minstrels: Modéré

 

● Deuxième Livre

 

1. Brouillards (Mists): Modéré
2. Feuilles mortes (Dead Leaves): Lent et mélancolique
3. La puerta del Vino (The Wine Gate): Mouvement de Habanera
4. «Les fées sont d'exquises danseuses» ("Fairies are exquisite dancers"): Rapide et léger
5. Bruyères (Heather but also the name of a town in Eastern France): Calme
6. Général Lavine - eccentric: Dans le style et le mouvement d'un Cakewalk
7. La terrasse des audiences du clair de lune (The Terrace of Moonlit Audiences): Lent
8. Ondine (Undine): Scherzando
9. Hommage à S. Pickwick Esq. P.P.M.P.C. (Homage to S. Pickwick): Grave
10. Canope (Canopic jar): Très calme et doucement triste
11. Les tierces alternées (Alternating Thirds): Modérément animé
12. Feux d'artifice (Fireworks): Modérément animé

 

Two of the titles were set in quotation marks by Debussy because they are, in fact, quotations: «Les sons et les parfums tournent dans l'air du soir» is from Baudelaire's poem Harmonie du soir ("Evening Harmony"). «Les fées sont d'exquises danseuses» is from the book Peter Pan in Kensington Gardens, which Debussy's daughter had received as a gift.

 

● Performance Practice

 

There is no proof that Debussy necessarily intended the preludes to be performed as a cycle, although the musical language throughout each book is so consistent that performers often do so. There is also a pragmatic reason why performers play the preludes as a set: each book of 12 preludes lasts between 35 and 40 minutes, about half the duration of a typical piano recital.

 

An important precedent was set on 3 May 1911 by the pianist Jane Mortier (to whom works were dedicated by Martinu^[1] and Satie^[2]) who played the entire first book of preludes at the Salle Pleyel in Paris.^[3] The German-English pianist Walter Morse Rummel, a student of Leopold Godowsky, gave the premier of the entire second book of preludes in 1913 in London.^[4]

 

Initially, Debussy and other pianists who gave early performances of the works (including Ricardo Viñes) played them in groups of 3 or 4 preludes, which remains a popular approach today. This allows performers to choose preludes with which they have the strongest affinity, or those to which their individual interpretive gifts are most suited.

 

There is a strong tonal relationship between the preludes that suggests that the published order of the preludes is not arbitrary.^[5] For example, the first three preludes in the first book (Danseuses de Delphes, Voiles, and Le Vent dans la Plaine) revolve around the key of B♭.^[6] In these first three preludes, allusions to the key of B♭ disappear and reappear, yet a strong sense of fluidity and connection between the preludes is still maintained.

 

However, the order of the preludes is not considered imperative, as is the case with Chopin's preludes, for example. Several pianists have performed the set out of order, and at least one recent recording, by Ivan Ilić, changes the order of the set entirely.^[7]

 

● The Titles

 

The titles of the preludes are highly significant, both in terms of their descriptive quality, and in the way they were placed in the written score. The titles are written at the end of each work,^[8] allowing the performer to experience each individual sound world with fresh ears, without being influenced by Debussy's titles beforehand.

 

The titles may have been given by the composer to create images or sensory associations for the listener. For example, the first prelude in the second book, Brouillards, translated to English is "fog" or "mists". The title is well adapted to the piece's tonal ambiguity, and helps enhance the enigmatic quality of the piece.

 

At least one of the titles is poetically vague: the exact meaning of Voiles, the title of the second prelude of the first book, is impossible to determine for certain, since the noun's gender is unknown (in French, voiles can mean either "veils" or "sails" depending on the gender).^[9]

 

In addition to the visual effects the titles invoke among listeners, Debussy used visual elements in the physical layout of the piano writing to create a unique visual experience for the performer. For example, in Brouillards Debussy plays all white keys with his left hand and all black keys with his right. The visual contrast between black and white keys added a new sensorial element to Debussy's composing of the preludes that transcended aural perception, helping to characterize his unique style. A similar device is used in Feux d'artifice.

 

● A Great Diversity of Moods

 

The moods of the pieces vary wildly, from the "profound calm" of La cathédrale engloutie to the tumultuous, unrestrained virtuosity of Ce qu'a vu le vent d'ouest, and from the mysterious Brouillards, to the explosive Feux d'artifice.

 

Perhaps the most famous two preludes are from the first book; La fille aux cheveux de lin is a brief but harmonically complex Pre-Raphaelite ｅxpression of beauty. La cathédrale engloutie alludes to the legend of the submerged city of Ys in which the cathedral was allowed to rise once a day as a reminder of the glorious city that was lost.

 

● Orchestrations

 

Various orchestrations have been made of the various preludes, mostly of La fille aux cheveux de lin and La cathédrale engloutie. Complete orchestrations of all 24 preludes include versions by Colin Matthews, Luc Brewaeys, and Hans Henkemans, and Sean Osborn has orchestrated the first book.

 

● Sources

• Lesure, François and Howat, Roy. "Debussy, Claude." Grove Music online. Oxford Music online, accessed 14 December 2009
• Roberts, Paul (1996). Images: The Piano Music of Claude Debussy. Portland, Oregon: Amadeus Press