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. 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 create a sense of rhythmic fluidity.
The piece begins with a moderate tempo indication, but later incorporates changes that contribute to an overall slowing down. At bar 20, Retenu (held back) is indicated, followed by légèrement et expressif (lightly and expressively) at bar 21. This suggests that the conductor should utilize rubato effectively.
Melody
The melodic line is prominent, with melodies dominating the entire work. It begins as a solo flute melody, characterized by a sweet and expressive nuance. This languid yet evocative melody hints at oriental arabesques with its tonal ambiguity. The emphasis on the C sharp – G tritone weakens with each appearance, suggesting a gravitation towards E major, as indicated by the key signature. However, this key is only fully established at the end of the score.
Despite their captivating nature, the chords play a secondary role, enhancing the ambiguity of the melody. In contrast, the middle section (not included in the score) exhibits greater tonal stability, centered around D flat major, while remaining intensely melodic.
Texture
The texture is predominantly harmonic. The use of chords creates an evocative atmosphere for the undulating melody. Many chords function independently, valued for their sonic beauty rather than their harmonic role. For example, the chords in bars 4 and 5 have a purely sensory effect, repeated after a pause in bars 7 and 8 without any melodic connection.
Another characteristic Impressionistic technique is the use of parallel chord progressions (e.g., bars 24 and 27 in the strings), which introduce an archaic, suggestive quality. Instances of polyphony are primarily found in the central section (not included in the score). These polyphonic lines typically emerge briefly from a chord and then return to it. A short example in the first section occurs in measure 22, where the cellos play a descending melodic figure against the main flute melody, supported by a sustained line in the English horn, second violins, and divisi cellos.
Timbre
The refined use of timbre is a defining feature of this work and representative of the Impressionist style. The orchestral writing showcases the richness of the woodwind family, complemented by a quartet of horns. The two harps play a crucial role in the overall character of the piece, with the first harp employing a special tuning.
Two typical Impressionistic techniques are employed: 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, playing sustained lines, but always with an arpeggiated indication.
The string section, with separate staves for cellos and double basses, frequently utilizes divisi writing. Mutes are employed to create a shimmering, flowing sound, and at times, the strings are instructed to play sul ponticello (near the bridge) for a dry, dark timbre.
The flute holds particular importance, representing the character of the faun from the beginning. Other instruments occasionally take over the melodic line, such as the oboes, reinforced by the clarinets from bar 17 and the violins from bar 18, gradually applying different timbral colors to the melody.
In the final appearance of the main melody, a percussion instrument—a type of antique cymbal—is introduced, suggesting, along with the flute, 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 short symphonic poem. However, Debussy’s focus is not on programmatically developing the literary narrative but rather on translating the poem’s languid and voluptuous atmosphere into music.
If we had the full score or listened to the complete piece, we could identify an AA’BA’ structure, 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 the sleep process, where recurring ideas reappear in different guises.
Genre
Program music, with the characteristics outlined above.
Timeline
Impressionist period, last decade of the nineteenth century.
Title
Prelude to the Afternoon of a Faun
Author
Claude Debussy