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Claude Debussy
The chamber
works of Debussy are few but noteworthy. They are: a String Quartet in G
minor , Op 10 (1893), and three sonatas for
various instruments (cello and piano 1915), flute, viola and harp
(1916), and violin and piano (1917). Each of the last three sonatas
contain three movements and put forth an air of improvisation or
spontaneity. One of Debussy's aims in his later career was to put off
Germanic
influences (particularly those of Wagner) so the form of these three sonatas
are somewhat unconventional. The early String Quartet (1893)
is more conventional . All of his new techniques are not yet in place. You
might notice that orthodox methods of thematic development are still
in evidence; a variety of simple repetitions, of sequence modulation, of
rhythmic transformations, and even some contrapuntal imitation are
present. It is also formally from a familiar pattern: four movements, three
of which are cyclically treated. There is sonata form in the first movement,
a scherzo with trio and a song form. The new aspects of this sonata
are his employment of short melodic figures, of sustained trills, of
colorful tremelos and repeated notes. Also, there is a delicacy of
expression and a variety of veiled colors virtually unknown in earlier
music.
Maurice
Ravel
The chamber music of Maurice Ravel (1875-1937) is, like Debussy, small in
number. He wrote an early quartet (1903), The Introduction and Allegro,
for harp solo with flute, clarinet and string quartet (1906), and the String
Trio in A minor (1915). Ravel is often thought of as an impressionist
as in the same manner as Debussy. That his tonal palette was influenced by
Debussy is without doubt, but there is a cooler aloofness, and more kinship
with neoclassicism.
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