Nuit d’étoiles (“Starry night”) was Claude Debussy’s first published composition. A youthful work, composed in 1880, it nonetheless foreshadows in its wistful melancholy the composer’s mature works of later years. Debussy chose to set only three of the four stanzas (omitting the third) in Théodore de Banville’s poem, and additionally to use the first stanza as a refrain, thus creating in effect a sort of rondo. The poet, here, sits beneath a starry night sky, lyre in hand, and sings melancholic of a past love. Yet, in the last stanza it is revealed that he holds onto some hope. The vocal line in Debussy’s setting is particularly tuneful, and the piano accompaniment principally supports the voice with little independence of its own. Rippling arpeggios accompany the first appearance of the refrain, which is embellished in some manner upon each reappearance. The stanzas, marked to be played in a more animated manner, employ a related, but still different accompaniment. Overall, Nuit d’é’toiles reflects a young composer, still influenced by the amiable salon music of his time, as of yet partially unaware of the sensitivity in combining poetry and music and plunging the necessary depths to heighten and strengthen the meaning of words with tones.Joseph DuBose
Classical Music | Soprano
Claude Debussy
Nuit d'étoiles
PlayRecorded on 10/06/2010, uploaded on 02/28/2011
Musician's or Publisher's Notes
Nuit d’étoiles (“Starry night”) was Claude Debussy’s first published composition. A youthful work, composed in 1880, it nonetheless foreshadows in its wistful melancholy the composer’s mature works of later years. Debussy chose to set only three of the four stanzas (omitting the third) in Théodore de Banville’s poem, and additionally to use the first stanza as a refrain, thus creating in effect a sort of rondo. The poet, here, sits beneath a starry night sky, lyre in hand, and sings melancholic of a past love. Yet, in the last stanza it is revealed that he holds onto some hope. The vocal line in Debussy’s setting is particularly tuneful, and the piano accompaniment principally supports the voice with little independence of its own. Rippling arpeggios accompany the first appearance of the refrain, which is embellished in some manner upon each reappearance. The stanzas, marked to be played in a more animated manner, employ a related, but still different accompaniment. Overall, Nuit d’é’toiles reflects a young composer, still influenced by the amiable salon music of his time, as of yet partially unaware of the sensitivity in combining poetry and music and plunging the necessary depths to heighten and strengthen the meaning of words with tones. Joseph DuBose
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)
Heiss mich nicht reden no. 2, from Mignon Lieder, D. 877
Nature, the Gentlest Mother, from Twelve Poems of Emily Dickinson
Heart, We Will Forget Him, from Twelve Poems of Emily Dickinson
Going to Heaven!, from Twelve Poems of Emily Dickinson
Why Do They Shut Me Out of Heaven? from Twelve Poems of Emily Dickinson
Le colibri
Les papillons
Nur wer die Sehnsucht kennt, from Mignon Lieder, D. 877
So lasst mich scheinen, from Mignon Lieder, D. 877
Apparition, from Quatre chansons de jeunesse
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