Anders Miolin - Claude Debussy ( 2000 )( booklet ).pdf

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Total playing time: 77' 3l
DEBUSSY,(Achille-) Claude lrsoz-urs;
Music transcribed ten-stringed
for
guitar by Anders Miolin
Deux Arabesques
E Arabesque I
No.
E Arabesque
No.2
11'08
6'13
4'50
4'47
25',13
3'1
I
4'.07
3'52
4',24
z',54
3'.17
2'51
l8'37
3',20
3'46
4',26
3'41
3'13
tr La plus que lente
E
E
E
E
tr
E
@
From Pr6ludes, Book I
Danseuses Delphes
de
Voiles
Les sons et les parfums tournent dans I'air du soir
Des pas sur la neige
La fil1e aux cheveux de lin
La s6r6nade
intenompue
Minstrels
From Pr6ludes, Book II
E
Feuillesmortes
La Puerta del Mno
@ La terrassedes audiencesdu clair de lune
E
BruyBres
Canope
tr
tr
tr
Pour l'6gyptienne from Sixdpigraphes
antiques
2',56
E
D'un cahier d'esquisses
@
El6gie
@
La soirde dans Grenade
tt'r)
5'53
Anders Miolin, ten-stringed
guitar
INSTRUMENTARIUM
guitarby Frangois
Ten-stringed
Corbellari,
La-Chaux-de-Fonds,
Switzerland
1991
The piano music of Debussy - for the sake of the colours
when I asked Anders Miolin why on earth he has transcribed and plays Debussy's piano music
'For the sake of the colours, in order to pick out the
on the guitar he answered me in a letter:
colours. Not to add any colours that are not already there, but to pick out the colours that are to
be found in the music.' This sounds somewhat insane in that Debussy's piano music is so clearly
identified with the sound of the piano, with the instrument's particular timbre. Debussy rs cer-
tainly one of the most important and influential composersfor the piano of the twentieth century.
Many people consider his Prdludes to be among the finest works written for the piano during the
century.
Debussy's piano works were not only radically new in terms of pianistic effects but were
.modem' from a musical point of view. Debussy experimented with new scales (prin-
equally
cipally whole{one scales) that were radically different from the usual major and minor scales.
The use of these new scales in tum resulted in harmonies and chords that had not previously
beenheard in WestemEurope.
In the matter of these notes, scalesand chords, Anders Miolin explains that they are just the
same as in the piano versions: the same notes and chords, the same timbre. Rather, we must
understandthat it is a different sort of colour that Anders Miolin uses.The colour is that of a dif-
ferent material, just as a painter can use oil paint, water-colour,pastels,acrylic paint. Each
listener can decide whether the piano version is a water-colour and the guitar version an oil
painting or vice versa.
Debussy's relationship with the piano was ambivalent. His family wanted him to become a
virtuoso pianist - what parents do not? - and on this notion they built castles in the air, dreams
that were never fulfilled becauseDebussy considered himself to be a rather feeble pianist and he
confessedunreservedly that he was unable to perform some of the more difficult ofh)s Prdludes.
He was, however, a good sight-reader as well as an excellent accompanist.Antoine Marmontel,
'Debussy is not spe-
his piano teacher at the Paris Conservatoire, is much cited in this context:
cially fond of the piano, but he loves music.'
Debussy was inspired by his surroundings and his inspiration was exclusively non-musical:
poetry, scents, paintings and, above all, colours. A number of scholars have devoted years of
study to trying to map all the external sources of inspiration and models. What follows can be
seenas a brief summary of theseresults.
A
Deux Arabesques
These are the first piano pieces that Debussy published, and they are among his most performed
works. They date from 1891. The term 'arabesque' was fashionable at this time when aft nou-
veau vtasjust beginning to bloom. There were arabesqueseverywhere: in art and literatue, on
lace curtains and wallpapers, and in poetry. The arabesqueis, of course, a decorative, Arabian-
style pattern with interlacing, repeated ornaments though it has nothing to do with Araby as
such.
La plus que lente
This somewhat parodic waltz is reputed to have been composed following a meeting with a vio-
linist called L6oni at a bar in the Carlton Hotel in Paris. L6oni could play the violin in Gypsy
style. In plus que lente dates from 1910 and the composer orchestratedit two years later using a
dulcimer, a typical Gypsy instrument that had delighted Debussy in Budapest.
Pr6ludes
Debussy composed his Prdludes during the years 1908-1913. Each of the two volumes com-
prises 12 preludes and they are among the most frequently performed of Debussy's works. They
have been termed a monument to impressionism, even though Debussy considered the word
impressionism to be derogatory.The Prdludes offer a survey ofpianistic novelties, sonic effects
and harmonies. A novelty of the published edition was that the poetic titles to the pieces were
placed after the music so that the performer should not be influenced by them.
First Book - The Danseuses de Delphes seeks to create the impression of a dancer or a
caryatid on top of a column, a classical sculpture that Debussy had seenin the Louvre. Voiles is
considered not to have anything to do with sails but, more probably, with the flowing veils of a
dancer named Loie Fuller who performed a famous snake dance at the Folies Bergdres. There is
a literary inspiration to Les sons et les parfums tournent dans I'air du soir, for the words form a
line in the first verse of Baudelaire's Harmonie du soir. Debussy actually mentions Baudelaire's
name, the only time that he mentions a source in his piano music. So far no referenceshave been
discovered to Des pas sur la neige but Debussy is clear enough in his instructions to the piece:
this rhythm should conjure up 'the tonal colour of a melancholy, snowbound landscape' and,
later, be 'like a melancholy memory'. lttflle aux cheveux de linis a line from a poem of the
same name (from the collection Poimes antiques) by Leconte de Lisle. Debussy set the poem to
music as early as 1882. ln sdrdnade interrompue is one of Debussy's piano works that was

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