La Mer I: De L'Aube A Midi Sur La Mer*La Mer Ii: Jeux De Vagues*
La Mer Iii: Dialogue Du Vent Et De La Mer*
Prelude to the Afternoon of a Faun
Nuages
Fetes
Sirenes
Firstly, to any of you thinking “I don’t like classical music,” give this a chance. This version is usually about 6 dollars at Barnes and Noble, and it sounds like no other music before it; it is truly unique. Warning: necessitates headphones.
Enough cannot be said about Debussy’s masterpiece La Mer. One of the most impressive musical achievements ever, the French composer depicts marvelously the majesty of the Sea, which is the English translation of the title. Officially called three symphonic sketches, this is technically not a symphony. That is why the album above includes other works. This reviewer suggests the purchase of this album for the quality with which the London Symphony Orchestra presents Debussy. Musically, however, I will refrain from mentioning the other tracks, as amazing as they are. The reason is because La Mer is its own work, whether or not provided on the same disc as other works; the symphonic equivalent is represented in only those three movements. Therefore, I feel justified in addressing only those three tracks as the complete work.
The movements’ English translations are, respectively, “From dawn to noon on the sea,” “Play of the waves,” and “Dialogue of the wind and the sea.” The opening with the strings truly brings the image of the Sun rising, the tides of the water becoming visible underneath the wind melody. The soft dynamic eventually grows and the sea becomes as busy as any urban metropolis. The contrasting timbres of strings, brass and woodwind respond to one another in simple motifs. Eventually they grow and recede again, as the sea does.
The movements connect with each other beautifully, elaborating on previous rhythms and harmonies, while still making every moment sound different from the previous. There is an undeniable continuity to the writing, yet La Mer manages to be peaceful at times, manic at others, sometimes even frightening. Much of the work is like a hush, barely audible if you aren’t truly listening. Climaxes of the work, however, are absurdly loud, with cymbal and gong rolls feeding each brass crescendo.
The harmonic language of Debussy is consistent like all his other works, parallel motion in melodic chord progressions. Casting aside the usual classical tendencies that say Bach or Beethoven firmly followed, Debussy makes his own sound. No previous composer had ever been as successful at harnessing the potential of all available timbres (timbre can be oversimplified as the actual quality of the sound heard). In an orchestra for example, all of the instruments provide a different timbre. What makes this work so unique is the mastery of how these timbres interact. At moments a heavy brass soli that holds out notes will contrast violin bowing in rhythm, while the flutes glissando fervently. Cymbals sweep through the sonorous landscape and the double basses roar underneath the gentle harmonies. Not one second of sound is wasted.
In his depiction of the sea, Debussy expresses a complex world with hundreds of characters and events happening at once. Brilliant.
Grade: A+
Enough cannot be said about Debussy’s masterpiece La Mer. One of the most impressive musical achievements ever, the French composer depicts marvelously the majesty of the Sea, which is the English translation of the title. Officially called three symphonic sketches, this is technically not a symphony. That is why the album above includes other works. This reviewer suggests the purchase of this album for the quality with which the London Symphony Orchestra presents Debussy. Musically, however, I will refrain from mentioning the other tracks, as amazing as they are. The reason is because La Mer is its own work, whether or not provided on the same disc as other works; the symphonic equivalent is represented in only those three movements. Therefore, I feel justified in addressing only those three tracks as the complete work.
The movements’ English translations are, respectively, “From dawn to noon on the sea,” “Play of the waves,” and “Dialogue of the wind and the sea.” The opening with the strings truly brings the image of the Sun rising, the tides of the water becoming visible underneath the wind melody. The soft dynamic eventually grows and the sea becomes as busy as any urban metropolis. The contrasting timbres of strings, brass and woodwind respond to one another in simple motifs. Eventually they grow and recede again, as the sea does.
The movements connect with each other beautifully, elaborating on previous rhythms and harmonies, while still making every moment sound different from the previous. There is an undeniable continuity to the writing, yet La Mer manages to be peaceful at times, manic at others, sometimes even frightening. Much of the work is like a hush, barely audible if you aren’t truly listening. Climaxes of the work, however, are absurdly loud, with cymbal and gong rolls feeding each brass crescendo.
The harmonic language of Debussy is consistent like all his other works, parallel motion in melodic chord progressions. Casting aside the usual classical tendencies that say Bach or Beethoven firmly followed, Debussy makes his own sound. No previous composer had ever been as successful at harnessing the potential of all available timbres (timbre can be oversimplified as the actual quality of the sound heard). In an orchestra for example, all of the instruments provide a different timbre. What makes this work so unique is the mastery of how these timbres interact. At moments a heavy brass soli that holds out notes will contrast violin bowing in rhythm, while the flutes glissando fervently. Cymbals sweep through the sonorous landscape and the double basses roar underneath the gentle harmonies. Not one second of sound is wasted.
In his depiction of the sea, Debussy expresses a complex world with hundreds of characters and events happening at once. Brilliant.
Grade: A+
2 comments:
Patrick,
I would like to hear your take on these recent favorites of mine:
Brian Eno - Ambient IV: On Land
El-P/Blue Series Continuum - High Water (Mark)
Giant Drag - Hearts and Unicorns
Diplo - Florida
RJD2 - Deadringer
Deftones - Deftones
Cage - Hell's Winter
El-P - I'll Sleep When You're Dead
All I can think of right now. You might actually be able to tolerate the first album.
You might also like the second album.
Post a Comment