Œuvres complètes de Claude Debussy : Série 3 vol. 1. Musique de chambre (Pièces pour violoncelle; Trio pour piano, violon et violoncelle)
- Submitting institution
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Royal Conservatoire of Scotland
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2860335
- Type
- R - Scholarly edition
- DOI
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- Title of edition
- Œuvres complètes de Claude Debussy
- Publisher
- Durand
- ISBN
- -
- Open access status
- -
- Month of publication
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- Year of publication
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This edition involved historico-stylistic reappraisal, as well as source reappraisal, of Debussy’s Piano Trio of 1880 and his two substantial pieces from 1882 for cello and piano. The Trio was hitherto available only in a 1980s Henle edition that mixed two disparate manuscript versions, involving differences of texture, articulation and dynamic shaping.
Musical and documentary evidence suggested that Debussy, while working for Nadezhda von Meck over summer 1880, was aiming at producing a Trio in distinctly "Russian" character, which can now be seen as the first really "Russian" piano trio, and whose composition is likely to have played a part in prompting Tchaikovsky’s Trio of two years later. My stylistic reappraisal entails reconsideration of tempi, including their structural relationships across the first movement, and the new edition’s differentiated presentation of the two disparate manuscript sources encourages informed and creative responses from performers. It also impinges on my necessary editorial reconstruction, in the Trio’s finale, of a lost sheet of autograph score. In contrast to the Henle edition’s harmonically orthodox reconstruction, my edition opts for a lighter, modally varied texture that answers to Russian imprints audible through the Trio; the realisation is also printed small typeface, in the hope of encouraging alternative solutions from performers.
A similar historico-stylistic reappraisal is brought to bear on the two cello pieces of 1882, including the curious story of how one of them has long been saddled with an irrelevant title (Nocturne et Scherzo) which appears to have come accidentally from an entirely different pair of violin pieces by Debussy, now lost.
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- New critical edition of the chamber music of Claude Debussy, published in Durand's series 'Complete Works of Claude Debussy'.