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DEBUSSY: Children's Corner / La boite a joujoux / Epigraphes antiques (Francois-Joel Thiollier/ Joël Perrot) (Naxos: 8.553291)



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Claude Debussy (1862-1918)





Piano Music, Vol. 2





Le petit negre (The Little Negro) (1909)


Children's Corner (1906-08)


La bo?«te ?á joujoux (1913)


Six epigraphes antiques (1914)



Claude Debussy was born in 1862, the son of a shop-keeper who was later to turn his hand to other activities, with varying success. He started piano lessons at the age of seven and continued two years later, improbably enough, with Verlaine's mother-in-law, who claimed to have been a pupil of Chopin. In 1872 he entered the Conservatoire, where he abandoned the plan of becoming a virtuoso pianist, turning his principal attention to composition. In 1880, at the age of eighteen, and in the following two summers, he was employed by Tchaikovsky's patroness Nadezhda von Meck as tutor to her children and house-musician. On his return to the Conservatoire from the first of these visits abroad, he entered the class of Bizet's friend Ernest Guiraud and in 1884 won the Prix de Rome, the following year reluctantly taking up obligatory residence, according to the terms of the prize, at the Villa Medici in Rome, where he met Liszt. By 1887 he was back in Paris, winning his first significant success in 1900 with Nocturnes for orchestra and going on, two years later, to a succes de scandale with his opera Pelleas et Melisande, based on the play by Maurice Maeterlinck, a work that established his position as a composer of importance.



Debussy's personal life brought some unhappiness in his first marriage in 1899 to a mannequin, Lily Texier, after an intermittent liaison of some ten years with Gabrielle Dupont. His association from 1903 with Emma Bardac, the wife of a banker and an amateur singer, led to their eventual marriage in 1908. In the summer of 1904 he had abandoned his wife, moving into an apartment with Emma Bardac, and the subsequent attempt at suicide by his wife, who had shared with him the difficulties of his early career, alienated a number of the composer's friends. His final years were darkened by the war and by cancer, the cause of his death in March 1918, when he left unfinished a planned series of chamber music works, describing himself patriotically as musicien fran?ºais, only three of which had been completed.



As a composer Debussy must be regarded as one of the most important and influential figures of the earlier twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelleas et Melisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that never overstated or exaggerated.



Le petit negre (The Little Negro), written in 1909, is in the mood of the earlier Golliwogg's Cake-Walk, included in Children's Corner. It appeared in Throdore Lack's Methode de piano.



Children's Corner is a set of pieces published in 1908 and written by Debussy for his daughter Emma-Claude, known in the family as Chou-Chou and born in 1905. She was to outlive her father by barely a year. The English titles of the pieces are a reflection of Debussy's anglophilia, echoed also in his habit of taking strong tea for breakfast and in a liking for whisky, and evidence of the influence on Chou-Chou of her English governess, Miss Gibbs. Doctor Gradus ad Parnassum suggests Clementi, although the conventional musical pattern of the opening soon moves far away from any such exercise. In a letter to Jacques Durand, Debussy suggested, in terms that are reminiscent of Erik Satie, that the piece is a kind of progressive, hygienic, gymnastic exercise to be played every morning fasting. It is, of course, much more than this. Jimbo's Lullaby suggests the gaucherie of an elephant in its opening and the proposed lop-sided accentuation. Serenade of the Doll, in fact for the Doll, had 1first appeared in 1906 as serenade a la poupee, to be played, the composer suggested, with delicacy and grace. The Snow is Dancing was to be misty, sad and monotonous, while The Little Shepherd opens with the delicate expressiveness of the shepherd-boy's flute, to be contrasted with a dance motif. The well known Golliwogg's Cake-Walk is a light-hearted version of a dance that had been popularised in the music-halls of the 1890s. Whatever its origins, the cakewalk was closely associated with black Americans, possibly originating in parody of white affectations. Children's Corner was first performed in Paris at the Cercle Musical by the American pianist Harold Bauer, to whom Debussy pointed out a parody of Wagner's Tristan und Isolde in the central section of the Golliwogg's Cake-Walk, to be played with great feeling. The suite was later orchestrated by Andre Caplet.



La boite a joujoux was the creation of the painter Andre Helle, who had written a story, which he had illustrated, on the subject of a toy-box and from which he now derived a ballet. He explained the toy-box as a town in miniature, or the town itself as a sort of toy-box. Some dolls are dancing and a soldier falls in love with one of them, but she loves a lazy and quarrelsome Punchinello. Soldiers and punchinellos fight and the soldier is wounded. The doll, deserted by her Punchinello, nurses the soldier and grows to love him. They marry, while the Punchinello becomes a village constable and life in the toy-box goes on.



Debussy intended his score as accompaniment to a ballet for children or perhaps for marionettes, although its first performances, after his death, were by adult dancers. He completed the piano score in 1913 and began work on the orchestral version, which was completed after his death by Andre Caplet. The music, although designed to amuse children, contains more subtle allusions, not only to simple songs such as 'Il pleut bergere' and to the sound of a musical box but also to the soldiers' chorus of Gounod's Faust, to Carmen and to Mendelssohn's 'Wedding March'. The four scenes of the ballet, after Le sommeil de la boite (The Toy-Box Asleep), are Le magasin des jouets (The Toy-Shop), Le champ de bataille (The Field of Battle), La bergerie a vendre (The Sheepfold for Sale) and Apr?¿s fortune faite. The principal characters are the doll, Polichinelle, Arlequin, an English soldier, the rose, but there is a large supplementary cast, allowing a fragment of a Hindu chant for an elephant and a borrowing from Le petit negre for the English soldier.



Debussy's Six epigraphes antiques, originally for piano duet, but also extant in a version for one player, was derived in part from music written in 1900 and designed to accompany recitation of the poems of Pierre Lou??s, the Chansons de Bilitis. It was planned that ten of these poems should be recited, with musical accompaniment; and appropriately sensuous actions, at a private performance, a series of tableaux vivants, with the dancers wearing the flimsiest of dresses or none at all, a suggestion that brought objections from contemporary moralists, although these were ignored and the performance went ahead.
Facts
Item number 8553291
Barcode 730099429122
Release date 01/01/2000
Category Ballet | Classical Music
Label Naxos Classics | Naxos Records
Media type CD
Number of units 1
Performers
Artists Francois-Joel Thiollier
Composers Claude Debussy
Producers Joël Perrot
Disc: 1
Le petit negre (The Little Negro)
1 Le petit negre (The Little Negro)
Children's Corner
2 No. 1: Doctor Gradus ad Parnassum
3 No. 2: Jimbo's Lullaby
4 No. 3: Serenade for a Doll
5 No. 4: The Snow is Dancing
6 No. 5: The Little Shepherd
7 No. 6: Golliwogg's Cake-Walk
La boite a joujoux
8 Prelude, "Le sommeil de la boite" (The Toy-box Asl
9 Tableau 1, "Le magasin des jouets" (The Toy Shop)
10 Tableau 2, "Le champ de bataille" (The Field of Ba
11 Tableau 3, "La bergerie a vendre" (The Sheepfold f
6 Epigraphes antiques (version for piano solo)
12 I. Pour invoquer Pan, dieu du vent d'ete
13 II. Pour un tombeau sans nom
14 III. Pour que la nuit soit propice
15 IV. Pour la danseuse aux crotales
16 V. Pour l'Egyptienne
17 VI. Pour remercier la pluie au matin
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