![]() He doesn't modulate to new keys as much as he simply plunks down whatever new tonal center he wants. Even in works with relatively strong tonal centers, Debussy avoided the structural function of harmony with such devices as the old church modes, non-Germanic folk music, and whole-tone scales. ![]() Since classical forms depend on the establishment of key to mark their major sections, Debussy often couldn't use them and had to find something else. Indeed, Debussy was the composer most performed at Schoenberg's private subscription concerts. Harmonies are so chromatic and so strained in their relationships, they lose their progressive function and become "colors." Schoenberg may have theoretically proclaimed the birth of atonality, but he seldom got any further out than Debussy. After that, however, they almost disappear, replaced by essentially expanded songs and dances and by "narratives." A work like "Feux d'artifice" fulfills Ives' notion of a piece of music unfolding like a life. To some extent, they touch Debussy's own Prélude à l'après-midi d'un faune, his first major orchestral work. On the other hand, classical forms lurk even in the deep levels of Strauss's tone poems. He took the Romantic idea of "organic form" from people like Chopin and Schumann (he edited Chopin's piano music) to an extreme. He differs from most of the others in that he had no great interest, past relatively early work, in the classical forms. Summary for the Busy Executive: Ravishing.ĭebussy stands with Mussorgsky, Mahler, Reger, and Strauss among the great progenitors of Modernism.
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