Inside Chamber Music with Bruce Adolphe: Debussy's Sonata for Violin and Piano
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- Опубликовано: 6 окт 2024
- Bruce Adolphe, CMS resident lecturer
Claude Debussy: Sonata for Violin and Piano (1916-17)
Filmed live in the Daniel and Joanna S. Rose Studio on February 25, 2017.
Artists:
Danbi Um, violin; Michael Brown, piano.
These talks are deeply intriguing and inspiring to me. I've heard and read these pieces hundreds of times and Bruce always manages to teach me something new about them. Bravo!
parallel harmony & kitchen chords: 26:10
anyone know the Balakirev pieces? they are great.
Nocturne 3
Why isn't it called getting rid of harmonic function when Chopin crawls around chromatically (a la e minor prelude)?
Chopin used harmony in a very original way and Debussy's music couldn't have existed without the developments that Chopin made. But in a piece like the E minor Prelude, even though the sense of key is severely challenged at some points, Chopin's choice of harmonies takes us to strange, unexpected places precisely because he maintains the tonal, harmonic functions. When Debussy used the whole tone scale, pentatonic passages or parallel dominant sevenths the usual functions of harmony are absent and the sense of key is suspended. It's subtly different.
@@nigelhaywood9753 I don’t think “unexpected places” = traditional (tonal) harmonic functions…necessarily.
I.e. I’m just as happy to say the whole tone scale takes us to unexpected places without assuming these places “take place” within any already-established space of (tonal) possibilities.
That said, I’m seeing something about the “chromatic crawl” that does make it more of a direct engagement with traditional harmonic functions than Debussy got going with his “non-functional” whole-tone “harmonies”
@@nathanialblower9216 There aren’t any expectations in the whole tone scale because it’s symmetrical. You can rise melodically from G through A and B until you reach C (in a C major scale) but the harmony behind it could be G7 to A minor. That would be an ‘unexpected place’. If all the chords are sevenths with a major ninth and a sharpened fifth and the scale uses only whole tones, you’d be hard pushed to say which stopping point is expected and which is unexpected. The expectations have been eliminated. That’s the point.
@@nigelhaywood9753 eliminating one source of expectations does not mean eliminating all sources of expectation, at least not for me. If you only have tonal expectations that sounds like a you problem
@@nathanialblower9216 When I answered your comment, I was sincerely trying to help you understand the difference between the harmonic language of Chopin and the concept of reducing the 'functionality' of harmony. Now that I see where this is going, I'm not going to waste any more time on it.
09:50
Chamber Music Society LEAVE OUT the politics. It's has NOTHING to do with this beautiful music. Furthermore, political interpretations of art are personal.
Boo hoo