Why did debussy write preludes

They can challenge your sense of balance since he, at times, has two rhythms going on simultaneously. Debussy didn't like the term impressionism to describe his music. You merely have to listen. Pleasure is the law. Those at the Paris premiere in insisted on hearing it a second time! Listen to CPR Classical on your radio at You've read another CPR classical story to the end.

We have got just the thing for classical music lovers like you: a weekly email newsletter! Probably after Hans Christian Andersen. The swirling turbulence of the virtuoso piano writing is changed into orchestral textures that would be hard to transcribe back to the original. La fille aux cheveux de lin The girl with the flaxen hair. A poem by Leconte de Lisle after Robert Burns. It would have been easy to arrange this, perhaps the best known of all the preludes, conventionally; but its familiarity demanded something different, and after much indecision I decided to halve the speed and score it for just strings and harps, giving it added weight and depth.

The Breton legend of the sunken city of Ys. The massive sonorities of the piano writing might seem to call for a heavyweight response, but I tried to keep the orchestration relatively veiled and subdued, with chiming bells and gongs. This is almost a miniature tone-poem, which changes direction every few bars. Apparently inspired by black-faced minstrels whom Debussy saw at Eastbourne, where he took a holiday in after completing La mer.

Brouillards Mists. The source of the title is unknown. Perhaps the most impressionistic of the Preludes, its cloudy textures inhabit a remote harmonic world. Feuilles mortes. After a postcard of the Alhambra sent by Manuel de Falla. The source is unknown but this prelude stands apart from the others in its simple harmony and melodic writing, recalling La fille aux cheveux de lin.

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