As more and more families began to own pianos in their homes during the early 19th century, composers found the composition of purely didactic pieces—etudes—to be in demand and a potentially profitable source of income. Of course, such “practice” pieces already existed, if in name only (consider Scarlatti’s 30 Essercizi per gravicembalo or J. S. Bach’s Clavier-Übung), but a new group of composers, Czerny and Clementi being the most prominent of them, rose to the challenge of establishing a more or less set form for the etude and general expectations of what was to be learnt from them. It was not long, however, before the succeeding generation of composers took hold of the etude and attempted to create academic pieces that were both advantageous for the student and pleasing to the listener. From this was born the magnificent etudes of Chopin and Liszt, and the first to also achieve a permanent standing in the concert repertoire of the instrument. Yet, it was many decades before another composer contributed significantly to the genre. In 1915, Claude Debussy, mired by cancer and distraught over the destruction of World War I, penned his twelve etudes, in two books of six each, for piano.
Debussy adhered to the general rule of addressing one particular facet of piano technique in each etude. In the first book, he focused primarily on the purely technical aspects of performance. The first, specifically marked by the composer, pays homage to the finger exercises of Czerny. The second through fifth etudes address the execution, and even compositional possibilities, of particular intervals—namely, thirds, fourths, sixths, and octaves. Lastly, the sixth etude suppresses the use of the thumb, asking the student to perform the humorous piece with only eight fingers. In contrast, the second book addresses a different set of technical demands as well as a deeper aspect of music than purely didactic exercises on intervals. Forming a sort of bridge is the first etude in this book, based on chromatic intervals. From there, the student must master ornaments, repeated notes, differing sonorities capable from the piano, and extensive and innovative application of the compositional use of arpeggios and chords. The penultimate etude, Pour les arpéges composes (“For Composed Apreggios”) is easily the most well-known and recognized of Debussy’s etudes. Joseph DuBose
Early in 1915, disheartened by the approach of World War I and gravely ill with cancer, Claude Debussy still managed to compose. His 12 Etudes would be his last important works for solo piano, and considered his crowning achievement. "Pour les arpèges composés" (For Composed, or Written-out, Arpeggios), is easily the best-known of all the etudes, and redefines the arpeggio to include a variety of non-harmonic tones. Jiyeon Shin
Classical Music | Piano Music
Claude Debussy
Etude No.11 "Pour les arpèges composés” Play
Recorded on 06/02/2010, uploaded on 12/17/2010
Musician's or Publisher's Notes
As more and more families began to own pianos in their homes during the early 19th century, composers found the composition of purely didactic pieces—etudes—to be in demand and a potentially profitable source of income. Of course, such “practice” pieces already existed, if in name only (consider Scarlatti’s 30 Essercizi per gravicembalo or J. S. Bach’s Clavier-Übung), but a new group of composers, Czerny and Clementi being the most prominent of them, rose to the challenge of establishing a more or less set form for the etude and general expectations of what was to be learnt from them. It was not long, however, before the succeeding generation of composers took hold of the etude and attempted to create academic pieces that were both advantageous for the student and pleasing to the listener. From this was born the magnificent etudes of Chopin and Liszt, and the first to also achieve a permanent standing in the concert repertoire of the instrument. Yet, it was many decades before another composer contributed significantly to the genre. In 1915, Claude Debussy, mired by cancer and distraught over the destruction of World War I, penned his twelve etudes, in two books of six each, for piano.
Debussy adhered to the general rule of addressing one particular facet of piano technique in each etude. In the first book, he focused primarily on the purely technical aspects of performance. The first, specifically marked by the composer, pays homage to the finger exercises of Czerny. The second through fifth etudes address the execution, and even compositional possibilities, of particular intervals—namely, thirds, fourths, sixths, and octaves. Lastly, the sixth etude suppresses the use of the thumb, asking the student to perform the humorous piece with only eight fingers. In contrast, the second book addresses a different set of technical demands as well as a deeper aspect of music than purely didactic exercises on intervals. Forming a sort of bridge is the first etude in this book, based on chromatic intervals. From there, the student must master ornaments, repeated notes, differing sonorities capable from the piano, and extensive and innovative application of the compositional use of arpeggios and chords. The penultimate etude, Pour les arpéges composes (“For Composed Apreggios”) is easily the most well-known and recognized of Debussy’s etudes. Joseph DuBose
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Etude No.11 "Pour les arpèges composés”
Early in 1915, disheartened by the approach of World War I and gravely ill with cancer, Claude Debussy still managed to compose. His 12 Etudes would be his last important works for solo piano, and considered his crowning achievement. "Pour les arpèges composés" (For Composed, or Written-out, Arpeggios), is easily the best-known of all the etudes, and redefines the arpeggio to include a variety of non-harmonic tones. Jiyeon Shin
More music by Claude Debussy
La Puerta del Vino, from Préludes Book II
Soiree dans Grenade, from Estampes
Rapsodie (arr. Rousseau)
Arabesque in C sharp major
Beau Soir
Ondine, from Préludes Book II
La Cathédrale engloutie, from Preludes, Books 1, No.10
Estampes
Apparition, from Quatre chansons de jeunesse
General Lavine – eccentric, from Préludes Book II
Performances by same musician(s)
Prelude and Fugue No.18 in g-sharp minor, from The Well-Tempered Clavier, Book I
Sonata No. 5 in F-sharp Major, Op. 53
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