L'Isle Joyeuse

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Claude Debussy's unique piece L'Isle Joyeuse is one of the most famous piano works by the French composer and is one of the most popular works of impressionism . The monumental piece, which appeared around the same time as the Estampes in 1904 , represents the themes of the Dionysian tumult, the glaring day and the blazing sunshine in a clearly formulated manner . It is an expression of ecstatic orgiastic elation in an ancient dream and ideal landscape. The Lydian mode plays a decisive role in the composition , to which the ancient Greeks ascribed sensual radiance. From the pianistic side of this piece, which is extremely popular with virtuosos, Debussy himself said: "Mon dieu, how difficult is it to play, this piece unites in itself what it seems to me to deal with the piano, because it combines strength and grace If I may put it that way ... " Here you can feel the satisfaction of the author at having presented a really" difficult "piece.

History of origin

Embarkation for Kythera , 1717/18, Berlin version of the subject; Charlottenburg Palace, Berlin

Debussy wrote the virtuoso and technically relatively difficult piece as early as 1903. It was probably inspired by a picture by the French painter Antoine Watteau (1684–1721) entitled L'Embarquement de Cythere ( Embarkation to Kythera , a Greek island in the Mythology was considered an island of happiness and sensual fulfillment). In the summer of 1904, however, he completely reworked it during a stay in Jersey . The title L'Isle joyeuse can therefore also be understood as an allusion to the island of Jersey, as it is on the one hand the sunniest of all the British Isles, which is famous for its extensive beaches, on the other hand, it served Debussy as a refuge, as he had fled Paris with Emma Bardac. The piece is therefore repeatedly brought into connection with his relationship with the banker's wife, which he began at that time. In any case, it is noticeable that instead of the French word for island, "île", he uses the English word "isle" in the title. In the same year, 1904, "L'isle joyeuse" was published by Durand, together with another monumental one-off piece, the Masques .

Structure and analysis

In contrast to the masques , the full day shines here and the power of a heightened attitude to life shines. The composition was inspired by the painting L'Embarquement de Cythere , but the piece goes far beyond the painting. "The beginning is formed by an arabesque chain originating from the Lydian trill with the performance designation quasi una cadenza (like a cadenza ). This is followed by a prelude Modéré et très souple (moderate and very graceful) that is almost entirely above organ point A. It is melodically characterized mainly by triplet garlands and an indefinitely swaying counterpoint Un peu en dehors (a little outward). In the following (from bar 28) the triplet movement continues in a 3/8 time, combined with chromatic progressions of This distinct style of development reaches its climax in the resumption of the chain of trills (bar 52) and leads to a broad Lydian cantilena (bar 67) in 3/8 time molto rubato (very free). With a tempo (in tempo ) begins a sort of implementation , which move up and descending cadenza by way of arpeggio patterns with fragments of the previous movement elements ve tie. From bar 145 poco a poco animé (gradually lively) the motifs struck in the first main part are taken up again, offset to C. With plus animé (livelier) in bar 160, the main key of A major is reached again. This development culminates in a whole tone passage in forte (loud) bars 182-185. A new movement movement pianissimo (very quiet) bars 186-199 above the organ point G sharp leads to the coda motif, which is rhythmically reminiscent of Chabrier , harmoniously to Mussorgsky . The new, stormy rhythm is set against the Lydian cantilena with un peu cédé (slightly yielded) in bar 220 as a counterpoint. A Dionysian frenzy of movement unfolds in rapid increase, which ends in the brightly glittering trill arabesques at the beginning (bar 244). A Lydian chord trill forms the virtuoso conclusion of the piece. "- W. Danckert

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