Prelude to the Afternoon of a Faun: Analysis & Guide
Prelude to the Afternoon of a Faun by Claude Debussy
Rhythm
Debussy employs a rhythmic approach that avoids a rigid alternation of strong and weak accents. Instead of eliminating the bar line, he weakens its impact through continuous changes in time signature: 9/8, 6/8, 9/8, 12/8, 9/8. In the first part, the eighth note consistently serves as the ternary subdivision unit. However, the middle section (not included in the provided score) features 3/4 and 4/4 time signatures. The melodic rhythm is subtle due to the varied note values, with notes and chords often placed on weak beats to dilute rhythmic uniformity (see the following four bars). The piece begins with a moderate tempo indication, but later incorporates changes for a general slowing down. At bar 20, Retenu (held back) is indicated, followed by légèrement et expressif (lightly and expressively) at bar 21, suggesting the conductor’s use of rubato.
Melody
The melodic line is prominent, with melodies prevailing throughout the work. It begins as a solo flute melody, characterized by a sweet and expressive nuance. This languid yet tense melody evokes oriental arabesques with their tonal ambiguity. The emphasis on the C sharp – G tritone weakens with each appearance, hinting at the E major tonality suggested by the key signature, which is only fully realized at the end. Despite their captivating nature, the chords play a subordinate role, enhancing the ambiguity of the melody. In contrast, the middle section (not included in the score) exhibits greater tonal stability in D flat major while remaining intensely melodic.
Texture
The texture is predominantly harmonic. Chords create an evocative atmosphere for the undulating melody. Many chords function independently for their sonic beauty rather than contributing to harmonic progression (e.g., the chords in bars 4-5 and 7-8). Parallel movements in harmonic progressions (e.g., bars 24 and 27 in the strings) are another characteristic Impressionistic technique, introducing an archaic flavor. Polyphonic passages are primarily found in the central section (not included in the score), where melodic lines briefly emerge from the chords before returning. A short polyphonic example in the first section occurs in bar 22, with the cellos performing a descending melodic line against the flute’s main melody, supported by the English horn, second violins, and other cellos divisi.
Timbre
The refined use of timbre is a defining feature of this work and representative of Impressionism. The orchestral writing showcases the richness of the woodwind family, complemented by a quartet of horns. The two harps play a crucial role, with the first employing a special tuning. Impressionistic techniques are evident in the broad glissandi (bars 4 and 8) and “liquid sounds” created by rapid arpeggios of dissonant chords in the upper register (bars 21, 23, and 26). The second harp often remains in the lower register with sustained lines, always marked with arpeggio. The string section, with separate staves for cellos and double basses, frequently utilizes divisi writing. Mutes create a shimmering effect, and the indication to play sul ponticello (on the bridge) produces a dry and dark sound. The flute holds particular importance, embodying the character of the faun from the beginning. Other instruments share the melodic line, with the oboes taking over, reinforced by clarinets from bar 17 and violins from bar 18, progressively adding different colors to the melody. In the final appearance of the main melody, antique cymbals join the flute, suggesting the Dionysian world of the faun.
Form
As a composition inspired by Stéphane Mallarmé’s poem “The Afternoon of a Faun,” this work can be considered a small symphonic poem. However, Debussy focuses on translating the poem’s languid and voluptuous atmosphere into music rather than programmatically developing its narrative. With the full score, an AA’BA’ structure could be observed, common in Debussy’s works. In this case, with the flute representing the faun’s dream, the variations on A could be interpreted as a musical representation of sleep, where recurring ideas reappear in different guises.
Genre
Program music, with characteristics outlined in the previous section.
Timeline
Impressionist period, last decade of the nineteenth century.
Title
Prelude to the Afternoon of a Faun
Author
Claude Debussy