This
sonata in G sounds decidedly French with its meticulous craftsmanship,
aristocratic taste, and refined sensibility.
This was Debussy's last complete work; it premiered in May 1917, with the
composer at the piano and Gaston Poulet playing violin.
The
poignant opening chords of the Allegro vivo give an atmosphere of
nostalgia and sadness. Rhythmic and harmonic ambiguity clouds the whole
movement, but there is an underlying momentum that builds to a dynamic finish.
In contrast, the middle movement is mostly light and fantastic, but has a
second theme that is surprisingly sensuous. The last movement reprises the
opening theme in a modified form before growing into a virtuosic showcase of
agility.
I
have a personal fondness for this piece. It was taught to me by violinist Gérard Poulet, son of Gaston
Poulet, who not only had premiered the work, but had helped Debussy transfer
the fantastic world of new sounds in the composer's head into musical notation.
Because standard musical notation limited what Debussy could express on paper,
it was especially fascinating to have the younger Monsieur Poulet show me what
his father had shown him. Eugenia Choi
Classical Music | Violin Music
Claude Debussy
Sonata for Violin and Piano
PlayRecorded on 08/02/2005, uploaded on 01/26/2009
Musician's or Publisher's Notes
Sonate pour violon et piano Claude Debussy
This sonata in G sounds decidedly French with its meticulous craftsmanship, aristocratic taste, and refined sensibility. This was Debussy's last complete work; it premiered in May 1917, with the composer at the piano and Gaston Poulet playing violin.
The poignant opening chords of the Allegro vivo give an atmosphere of nostalgia and sadness. Rhythmic and harmonic ambiguity clouds the whole movement, but there is an underlying momentum that builds to a dynamic finish. In contrast, the middle movement is mostly light and fantastic, but has a second theme that is surprisingly sensuous. The last movement reprises the opening theme in a modified form before growing into a virtuosic showcase of agility.
I have a personal fondness for this piece. It was taught to me by violinist Gérard Poulet, son of Gaston Poulet, who not only had premiered the work, but had helped Debussy transfer the fantastic world of new sounds in the composer's head into musical notation. Because standard musical notation limited what Debussy could express on paper, it was especially fascinating to have the younger Monsieur Poulet show me what his father had shown him. Eugenia Choi
More music by Claude Debussy
La Puerta del Vino, from Préludes Book II
Rapsodie (arr. Rousseau)
Arabesque in C sharp major
Soiree dans Grenade, from Estampes
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)
Tzigane
Composer’s Holiday, from Three American Pieces
Thème et Variations for Violin and Piano
Tzigane
Sonata for Violin and Piano No. 1, Op. 13
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