Album insights
In the late 19th century, Claude Debussy was a frequent visitor at the gatherings of writers and painters hosted on Tuesday evenings at the home of poet Stéphane Mallarmé. In 1876, Mallarmé published a poem titled "L’après-midi d’un faune." Sixteen years later, Debussy began composing a work he initially named "Prélude, Interludes et Paraphrase finale," possibly intending it for a theatrical performance based on Mallarmé's poem. The only piece realized was the "Prélude à l’après-midi d’un faune." Debussy's music delighted Mallarmé for capturing the essence of his poem. The premiere took place in Paris on December 22, 1894, with conductor Gustave Doret emphasizing Debussy's ability to replicate the orchestra's full range on the piano.
Maurice Ravel had expressed his desire for "Prélude de l’après-midi d’un faune" to be played at his funeral. In 1910, Ravel transcribed the piece for piano duet, yet the arrangement for two pianos dates back to Debussy in 1895.
In September 1894, Debussy informed Belgian violinist Eugene Ysaÿe in a letter about three Nocturnes for solo violin and orchestra he was composing. Despite changes, the Trois Nocturnes lacked a part for solo violin upon premiere. Ysaÿe eventually conducted the piece in 1903. The first performance was scheduled for December 9, 1900, but only the first two movements were played. Ravel collaborated with Raoul Barda to transcribe the Nocturnes for two pianos, performed in 1911.
Debussy's early Spanish piece, "Lindaraja," published in 1926, attracted attention. Influenced by Spanish music from afar, Debussy's compositions resonated with Spain. Falla sought Debussy's advice for a performance in Madrid, eventually intending to play "Danse sacrée et danse profane" on piano rather than the originally composed harp piece. World War I's outbreak in 1914 silenced Debussy as a composer. To distract him, publisher Jacques Durand involved him in creating a new French edition of classical works. Debussy also pondered new compositions, leading to the creation of "En blanc et noir" with Jean Roger-Ducasse in 1916.
Debussy's intent with the "En blanc et noir" pieces, inspired by Velazquez's gray tones, included subtle messages, dedicating them to friends and recalling wartime sentiments. The somber tones and dedications within the compositions reflect the prevailing atmosphere during World War I.