Hardest prelude of the first book. I've learned #4, #8, and #10 (Fragrances, Flaxen Hair, and Sunken Cathedral, respectively). This is a very expressive rendition. I like how you can follow the score on the video.
Questo preludio è fantastico! Amo Debussy come nessun altro compositore! Il Genio d'un compositore si misura sulla capacità d'evocare una musica che funga da preludio alla realtà stessa! E' la musica che prende il posto della concretezza della terra, e distilla l'essenza ultima di ciò che è esperibile! Debussy è il più metafisico dei compositori: fare musica significa attingere alle altezze del noumeno, mettere ordine nel fenomeno! Mi inchino e commuovo dinnanzi ad ogni suo pezzo!
Its so amazing how music can affect our minds. Debussy's use of the Whole-Tone Scale puts on a mood of anxiety and restlessness. It's interesting because that's exactly what this music has, no resting point, no tonal center. Even the layman has a sense of fright, like he doesn't know whats going to happen; well the music doesn't either..
A very surreal and frightening piece, but a fantastic one. This is by far my favorite recording of it. The strange moaning in the background (around 2:08) only adds to the creepy atmosphere!
The music of Claude Debussy reminds me of episodes from the old 1950s Alfred Hitchcock Presents series. The mood is set from the very first second and never lets up. An entire story is told within minutes (in this case 3 minutes and 6 seconds), and never lets you out of it's grip. Mastery!
the score was certainly helpful :) and you have to admire debussy for being able to freak people out with just one instrument...i swear i'll play this next year
@debussy84 That is called Tremor, kind of like Trillo, except the the player is supposed to play both notes that are stemmed simultaneously VERY fast just like trill. It should make like a rumbling effect on the lower notes, and a cla-a-a-a-a-acking kind of sound on the higher notes.
Debussy must have spent his lives earnings on the drugs needed to write this piece!! How someone could pen something so manic blows my mind, but it is phenomenal.
when I tried to play this, I could not acheive the wind effect Pollini plays with, he is a true genius, this proves it being able to play fast does not mean it makes good music
the trick is NOT getting exhausted. Try to practise as slow as possible and relaxing all of your muscules. When they're totally relaxed, you should never feel exhausted. You CAN relax them when playing that fast
This is simple... I started playing piano last week and so far I've learned this (3rd day). Rach opus 32, 10... opus 23, 2 I haven't mastered all of his stuff yet but I can get through everything Prokofiev has written... granted my playing is only on par with Yundi Li but in another week or so I think I'll graduate to a Richter/ Horowitz level... Maybe 10 days, I have some stuff do this week. Don't have the normal 15 minutes a day I dedicate to the piano.
odd duck? I think not. A surreal artist that paints with sound. Close your eyes and let the imagery that your brain conjures from your recesses take over your reality. Then...you will understand Debussy.
@jeremykmartin yes i agree when you break it down just whole tone scales chords, but it's the touch, execution of notes and required speed to get the desire affect, yes simple repeated patterns of whole tone scales chords but it's how the artist performs this piece; anyone anybody can just play this piece but without bringing it alive it's pointless.
@kratanuva725 O yes! It's not an ordinary one considering its dynamic and its forte and fortissimo! But you can distinguish it actually IS Debussy 'cause of the strong empressionistic image of the wind blowing and generally the distructive force of nature!
this piece really gives the feeling of someone looking down from high above, frolicking in the wind--like some sorts sprite or fairy or something.......anyway, thats just my impression......regardless, though, its a fun piece to listen to :D
@debussy84 (luv the username btw) it means to alternate between those two notes as if they were 32 notes. if there were 2 solid bars, itd be sixteenth notes, etc
@nahedh There are several distinct themes, the D#-A-G theme being prominent among them. It is pretty difficult to take in at once, though, but if you listen to others (such as Ornstein and other ultramodern composers), this will seem extremely traditional by comparison.
This piece is fiendishly difficult in some bars. I am learning this now and I am just floored at :47. I spent literally 8 hours just playing those those leaps and I'm still not up to full speed. Somene wrote that this part isn't that difficult. And I'm here to tell you that that is some bs! lol It looks simple until you actually play it as written.The last note of the scale is played with your left hand (E natural) then you have to quickly leap into the chords without smudging the notes.
Do you mean for the Royal Canadian Conservatory? It's an ARCT piece (Diploma level One - the level above Level 10), and I'm pretty sure it's from List D.
