In 1892, Claude Debussy found himself hopelessly struggling to complete his planned opera Rodrigue et Chimène, forcing himself to work with a libretto he knew was wholly incompatible with his concept of both music and drama. Ultimately, he abandoned the project and in the aftermath turned to the composition of chamber music. Two string quartets were planned, yet only one materialized—the String Quartet in G minor. Completed in 1893, it is considered a landmark in the history of chamber music, much in the same way Prélude à l'après-midi d'un faune is in orchestral music. While its fame and importance is certainly solidified today, it was less than enthusiastically received at its premiere by the Ysaÿe Quartet on December 29, 1893.
Drawing on the principles of cyclic form which was used frequently by César Franck, Debussy’s String Quartet manages to stand upon the threshold between the waning Romantic tradition that had predominated Western music, while also looking forward to the techniques of the opening decades of the 20th century. Harmony and melody likewise give way to Debussy’s burgeoning Impressionism, and despite the work’s keen motivic unity, rhythm and timbre often become the focus of the composer’s and thereby audience’s attention.
Cast in the traditional four-movement pattern, the String Quartet in G minor opens with an animated first movement whose initial theme becomes the principal motivic material for the entire piece. In the following scherzo, timbre is a critical element of the music as pizzicato and bowed playing are placed in close juxtaposition and even heard simultaneously, not in the typical context of melody and accompaniment, but as equally important aspects. The Andante third movement is a refreshing repose from the energetic movements that precede it and a breathtakingly beautiful gem in its own right. Lushly harmonized and lyrical outer sections frame a passionately introspective central episode that slowly builds in intensity as the melody is passed between the constituents of the quartet. The sprightly finale, according to Debussy himself, caused him the most grief in its composition. It opens with a slow introduction, serving as an effective bridge from the expressive third movement, before the movement’s chromatically-infused principal theme is heard first in the cello. Debussy creates a compelling conclusion to his quartet as the finale’s forward momentum refuses to be hindered, even in its softer moments, and ultimately culminating in a spirited G major coda.Joseph DuBose
________________________________________
1. Animé et très décidé
2. Assez vif et bien rythmé
The famous 'Gamelan' movement from Debussy's only String Quartet (1893). In 1889 Debussy heard an Indonesian Gamelan for the first time at the World Exposition in Paris (for which the Eiffel Tower was built). Four years later his impression of the Gamelan, particularly its harmonic/melodic structure (each instrument repeating only a few notes over and over, creating a fascinating rhythmic layering effect), came out in the second movement of his first and only String Quartet, Op.10 in G.
Classical Music | Music for Quartet
Claude Debussy
String Quartet in g minor, Op. 10 Play
Recorded on 05/01/2003, uploaded on 05/15/2009
Musician's or Publisher's Notes
In 1892, Claude Debussy found himself hopelessly struggling to complete his planned opera Rodrigue et Chimène, forcing himself to work with a libretto he knew was wholly incompatible with his concept of both music and drama. Ultimately, he abandoned the project and in the aftermath turned to the composition of chamber music. Two string quartets were planned, yet only one materialized—the String Quartet in G minor. Completed in 1893, it is considered a landmark in the history of chamber music, much in the same way Prélude à l'après-midi d'un faune is in orchestral music. While its fame and importance is certainly solidified today, it was less than enthusiastically received at its premiere by the Ysaÿe Quartet on December 29, 1893.
Drawing on the principles of cyclic form which was used frequently by César Franck, Debussy’s String Quartet manages to stand upon the threshold between the waning Romantic tradition that had predominated Western music, while also looking forward to the techniques of the opening decades of the 20th century. Harmony and melody likewise give way to Debussy’s burgeoning Impressionism, and despite the work’s keen motivic unity, rhythm and timbre often become the focus of the composer’s and thereby audience’s attention.
Cast in the traditional four-movement pattern, the String Quartet in G minor opens with an animated first movement whose initial theme becomes the principal motivic material for the entire piece. In the following scherzo, timbre is a critical element of the music as pizzicato and bowed playing are placed in close juxtaposition and even heard simultaneously, not in the typical context of melody and accompaniment, but as equally important aspects. The Andante third movement is a refreshing repose from the energetic movements that precede it and a breathtakingly beautiful gem in its own right. Lushly harmonized and lyrical outer sections frame a passionately introspective central episode that slowly builds in intensity as the melody is passed between the constituents of the quartet. The sprightly finale, according to Debussy himself, caused him the most grief in its composition. It opens with a slow introduction, serving as an effective bridge from the expressive third movement, before the movement’s chromatically-infused principal theme is heard first in the cello. Debussy creates a compelling conclusion to his quartet as the finale’s forward momentum refuses to be hindered, even in its softer moments, and ultimately culminating in a spirited G major coda. Joseph DuBose
________________________________________
1. Animé et très décidé
2. Assez vif et bien rythmé
The famous 'Gamelan' movement from Debussy's only String Quartet (1893). In 1889 Debussy heard an Indonesian Gamelan for the first time at the World Exposition in Paris (for which the Eiffel Tower was built). Four years later his impression of the Gamelan, particularly its harmonic/melodic structure (each instrument repeating only a few notes over and over, creating a fascinating rhythmic layering effect), came out in the second movement of his first and only String Quartet, Op.10 in G.
3.Andantino doucement expressif
4.Très modéré
More music by Claude Debussy
La Puerta del Vino, from Préludes Book II
Arabesque in C sharp major
Soiree dans Grenade, from Estampes
Rapsodie (arr. Rousseau)
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)
String Quartet Op.76 No.5 - Finale: Presto
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