To discover a "new" piece by Debussy - wonderful. I'm downloading the score from IMSLP & looking forward to reading through it. Well, maybe not the 3rd movement. Not this year.
@Cmaj7, thank you so very much for uploading Debussy's 'Images oubliées (Forgotten Images)', I must confess it's the first time I've listened to them and I find them truly mesmerizing not to mention Jean-Efflam Bavouzet's performance which I regard brilliant ! I was looking for this cycle to pay tribute to Henry Lerolle (French painter, art collector and patron; 1848-1929) to whose daughter Yvonne Lerolle (1877-1944) this amazing piece is dedicated. I've read that the cycle was only eventually published in its entirety in 1977. The reason for adding the words 'forgotten' was to prevent it from being confused with his other two popular Images cycles, published in 1905 and 1907 respectively. Debussy instructed the Sarabande to be performed '[…] with dignified and slow elegance, not unlike an old portrait, a memory from the Louvre, etc. […]'. Maurice Ravel orchestrated the Sarabande in 1923, and Zoltán Kocsis created an orchestral transcription of the other two pieces.
Claude Debussy:Images oubliées 1.Lento e malinconico 00:01 2.A Louvre ajándéktárgya (Sarabande, Con un nonno grave e lento) 03:56 3.Nem fogunk elmenni a fán, mert elviselhetetlen (Molto rapidamente) 08:10 Jean-Efflam Bavouzet-zongora
@@dennischiapello3879 Thankyou From A corner of Tokyo , which is full of various delicious foods of 🇯🇵🍚🍙🥟🍲🍜🍘🍣🍢🍡🍥🌊🎍🍱and unique to Japan of㊗️⛩️🎋🎏🎎👺🏯🗾🎴🗻🐈🥋🀄👘🗼🌸💮🎌
Has that same fleeting quality to it! The moment at 2.49 reminds me of Evans' "Lucky To Be Me" and the way in which he draws the piece towards its conclusion. Bill Evans is the man!
@@MR-gz9lm I agree that not everything harmonically advanced has to be compared to 'Modern Jazz' and that Debussy already had his rank as an influential composer before Jazz arose. However, I only wanted to state how interesting it was to hear Debussy's influence in Evans' music, as he would absorb 19th/early 20th century's French impressionistic language and incorporates it into his personal style.
I got your point but if Debussy had played jazz, he would have been Debussy again because Debussy himself created most of the things in Jazz. Much love and respect to Bill Evans but Debussy was a true revolutionary and iconoclastic, we owe him big time and I don’t think you can replace him with another great name. He was Debussy :)
I- Lent, doux et mélancolique II - Souvenir du Louvre, Sarabande III - Quelques aspects de "Nous n'irons plus au bois", très vite I- Langsam, sanft und melancholisch. II - Erinnerung an den Louvre, Sarabande III - Einige Aspekte von "Nous n'irons plus au bois" (Wir werden nicht mehr in den Wald gehen), sehr schnell. I- Slow, gentle and melancholy II - Memories of the Louvre, Sarabande III - Some aspects of "Nous n'irons plus au bois" (We won't go to the woods again), very fast
Yes. And the third movement is also based on material used elsewhere, perhaps in one of the Preludes? I can't remember exactly at the moment. In any case, thanks, Cmaj 7, for posting this fine recording. These pieces are lovely in their own right, even if their more famous alternate versions have eclipsed them. I'm glad to know of them.
The third movement uses the French folk melody "Nous n'irons plus aux bois", which he did not compose. He used it again in Estampes in a completely different way, whereas Sarabande is almost exactly the same minus some chord changes.
I've seen him show up in lists of sexiest classical composers, oddly enough. I don't really see it but I guess he has a sort of bearish quality to him lol
Am I the only one baffled by the notation of measures 4 and 9, in the first movement? Looking at that line of 32nd notes, it doesn't add up. Looking at it from the first beat, you start with a 16th into two 32nd notes in the lower measure (so the first 8th of 6 in the beat), then four more notes in the upper measure (so we've now reached the end of beat 1), then another two 32nds in the lower measure (so a 16th), then four 32nds in the right (an 8th), leaving at not quite yet at beat 2 - we're one 16th away still from having reached beat two. But that other 16th never happens, either notated or as a rest, and it goes right to the "final" quarter note of the measure... but that means that each time a 16th note is being omitted from the overall beat, if played EXACTLY as written........ so what would be the *PROPER* thing to do in a situation like this?
@@cmansi1111 Just notice the first note isn't triple croche but double croche instead. Then the first beat is regular rythm and the second beat (starting with the A# left hand) should be played as a 6-tuplet group. It's like waiting on the first note, rushing a little then slowing at the end of the passage. Maybe like a harpa. It doesn't need to feel rythmic. This recording is convincing by the way.
Chopin does worse things in the Nocturnes...my old teacher would say, Don't try to count it out, just play the notes! And yes, the performance sounds just right.
![Claude Debussy - Images oubliées (1894) [w/ score]](http://i.ytimg.com/vi/VpYk3WsC1_E/mqdefault.jpg)
0:01 I - Lent, doux et mélancolique
3:56 II - Souvenir du Louvre, Sarabande
8:10 III - Quelques aspects de "Nous n'irons plus au bois", très vite
Cmaj7 、
I love your channel
69th like
Thank you very much indeed !
ヤバい！また寝ちゃった！夜寝れない！困るなあ❤❤
3:56 so interesting to hear the first version of his Sarabande. Didn't know it was from this set initially
I remind that it is also in pour le piano, isn't it?
@@stefanoferlaino1895 yep
To discover a "new" piece by Debussy - wonderful. I'm downloading the score from IMSLP & looking forward to reading through it. Well, maybe not the 3rd movement. Not this year.
and so 5 years have passed, I wonder what the situation is like there?
omg!!! The third movement caught me by surprise! I always enjoy Debussy, but I especially liked this last one
Magnifique et toujours poétique...d'une finesse incroyable, merci.
How does he made this modern sound at 1894. He is the pioneer of the music.
Satie did it a bit earlier, check out the 3 sarabandes from 1887. But yes this is beautiful.
@@ilikeplayingffftonecluster851 oh, yeah. Shouldn't forgot Satie. He's also pioneer too.
THIS SOUNDS SO MODERN AND LOVELY AAAAAAAAAAAAAA
@Cmaj7, thank you so very much for uploading Debussy's 'Images oubliées (Forgotten Images)', I must confess it's the first time I've listened to them and I find them truly mesmerizing not to mention Jean-Efflam Bavouzet's performance which I regard brilliant !
I was looking for this cycle to pay tribute to Henry Lerolle (French painter, art collector and patron; 1848-1929) to whose daughter Yvonne Lerolle (1877-1944) this amazing piece is dedicated.
I've read that the cycle was only eventually published in its entirety in 1977. The reason for adding the words 'forgotten' was to prevent it from being confused with his other two popular Images cycles, published in 1905 and 1907 respectively.
Debussy instructed the Sarabande to be performed '[…] with dignified and slow elegance, not unlike an old portrait, a memory from the Louvre, etc. […]'.
Maurice Ravel orchestrated the Sarabande in 1923, and Zoltán Kocsis created an orchestral transcription of the other two pieces.
Claude Debussy:Images oubliées
1.Lento e malinconico 00:01
2.A Louvre ajándéktárgya (Sarabande, Con un nonno grave e lento) 03:56
3.Nem fogunk elmenni a fán, mert elviselhetetlen (Molto rapidamente) 08:10
Jean-Efflam Bavouzet-zongora
This performance is immeasurable , beyond description , graceful and comfortable to the ear and the mind
From
Tokyo of the Land of the Rising Sun 🇯🇵
Bavouzet is never less than wonderful.
@@dennischiapello3879
Thankyou
From
A corner of Tokyo , which is full of various delicious foods of 🇯🇵🍚🍙🥟🍲🍜🍘🍣🍢🍡🍥🌊🎍🍱and unique to Japan of㊗️⛩️🎋🎏🎎👺🏯🗾🎴🗻🐈🥋🀄👘🗼🌸💮🎌
Really like this piece. Thank you for posting it!
Just getting to know these three pieces. Debussy approaching his maturity. Superb.
Holy, he's like the musical godfather of Bill Evans.
Has that same fleeting quality to it! The moment at 2.49 reminds me of Evans' "Lucky To Be Me" and the way in which he draws the piece towards its conclusion. Bill Evans is the man!
@@MR-gz9lm I agree that not everything harmonically advanced has to be compared to 'Modern Jazz' and that Debussy already had his rank as an influential composer before Jazz arose. However, I only wanted to state how interesting it was to hear Debussy's influence in Evans' music, as he would absorb 19th/early 20th century's French impressionistic language and incorporates it into his personal style.
Mitchell Rivero Morejón this ain’t it
I got your point but if Debussy had played jazz, he would have been Debussy again because Debussy himself created most of the things in Jazz. Much love and respect to Bill Evans but Debussy was a true revolutionary and iconoclastic, we owe him big time and I don’t think you can replace him with another great name. He was Debussy :)
@@juanquiroga8933 please, go listen Debussy's etudes, preludes, images I and II, images (orchestra), then come back here and tell me
finally with score. thank you
The counterpoint at 1:42 is wonderful
Interesting to hear a first version of the sarabande, harmonized slightly differently.
Have always loved this work
It sounded remarkably modern to me. Wonderful music.
I can already hear a lot of jazz elements in Debussy's music. This soft but distinguished mood
"I can hear a lot of haitian creole in that french you're speaking."
@@Triggs-Music haha beautiful comparison
Thank you so much! I love these pieces
10:30 heavy groove
8:25 literally une barque sur l’océan lmao
Bavouzet is Debussy's all-time best interpreter.
the beautiful melodies (sounds) 💞💘...A magnificent composer.
I think 9:33 is why the pedal was invented.
I think the idea presented at 10:46 clashing with the melody to the end is the reason for the pedal.
Love first piece. It is stretched too long. But it is priceless.
It is not stretched. It is as it should be.
I- Lent, doux et mélancolique
II - Souvenir du Louvre, Sarabande
III - Quelques aspects de "Nous n'irons plus au bois", très vite
I- Langsam, sanft und melancholisch.
II - Erinnerung an den Louvre, Sarabande
III - Einige Aspekte von "Nous n'irons plus au bois" (Wir werden nicht mehr in den Wald gehen), sehr schnell.
I- Slow, gentle and melancholy
II - Memories of the Louvre, Sarabande
III - Some aspects of "Nous n'irons plus au bois" (We won't go to the woods again), very fast
Very nice music, i love Debüssi
Debussy was wise to pluck the second one out of this and leave the other two "oubliées" as they say.
Is it just me or does the first 30 seconds sound a bit like the beginning to the lark by Glinka?
Nice observation, Ludwig van Beethoven himself.
Nope
The lark by glinka sounds like the begining of chopin’s op55 nocturne in Fm
Did Debussy just take the second movement from this and reharmonized it for "Pour le Piano"??
Yes. And the third movement is also based on material used elsewhere, perhaps in one of the Preludes? I can't remember exactly at the moment. In any case, thanks, Cmaj 7, for posting this fine recording. These pieces are lovely in their own right, even if their more famous alternate versions have eclipsed them. I'm glad to know of them.
The third movement sounds similar to the third movement of Estampes.
The third movement uses the French folk melody "Nous n'irons plus aux bois", which he did not compose. He used it again in Estampes in a completely different way, whereas Sarabande is almost exactly the same minus some chord changes.
8:27 UM I FOUND THE INSPIRATION FOR TGE RND OF UNE BARQUE SUR L’OCEAN
Guys, have you noticed that he was onla 22 when composed these beauties....what did you do when you were 22..?
The beginning of the first one is really sounds like the last piece of Bergamasque
Yes, the first few notes are similar to the first few in passepied
I don't hear it.
Nevermind, I hear it.
1:41.
2:18 Ok, that's just Claire De Lune
no.
At 8:27it sounds so much like ravels Une barque sur locean
Wow...
Lovely upload. Why is Rite of Spring missing from your channel? Is this only in my country or did it get deleted?
It got blocked worldwide, but don't worry; it'll be back. ζ:
Oh thank god! It seemed to be your first upload and I haven't ever been able to listen to the piece without the score :D
@@Cmaj7 that's the first time I see someone use zeta as part of an emoji lol
I love Debussy’s music, but I can’t get over the weird combination of his head and his hair. Great composer, not the best with hair.
He did quite favour the camera, though, I've seen lots of photos of him on the internet.
I've seen him show up in lists of sexiest classical composers, oddly enough. I don't really see it but I guess he has a sort of bearish quality to him lol
looney1023 he just wasn’t exactly exemplary when it came to personal scalp fashion in my opinion.
The facial hair tho... :D
So typical of our trash culture that the most important aspect of a great composer is his hair style>> S ay no more!
Oh, how i love it
Would it be possible to have you send your musical score to me?
Am I the only one baffled by the notation of measures 4 and 9, in the first movement? Looking at that line of 32nd notes, it doesn't add up. Looking at it from the first beat, you start with a 16th into two 32nd notes in the lower measure (so the first 8th of 6 in the beat), then four more notes in the upper measure (so we've now reached the end of beat 1), then another two 32nds in the lower measure (so a 16th), then four 32nds in the right (an 8th), leaving at not quite yet at beat 2 - we're one 16th away still from having reached beat two. But that other 16th never happens, either notated or as a rest, and it goes right to the "final" quarter note of the measure... but that means that each time a 16th note is being omitted from the overall beat, if played EXACTLY as written........ so what would be the *PROPER* thing to do in a situation like this?
It's Debussy dude, not Boulez.
@@j.thomas1420 EXACTLY, so then why is this notation so abnormal? I would expect something bizarre from Boulez. Not Debussy.
@@cmansi1111 Just notice the first note isn't triple croche but double croche instead. Then the first beat is regular rythm and the second beat (starting with the A# left hand) should be played as a 6-tuplet group. It's like waiting on the first note, rushing a little then slowing at the end of the passage. Maybe like a harpa. It doesn't need to feel rythmic. This recording is convincing by the way.
Chopin does worse things in the Nocturnes...my old teacher would say, Don't try to count it out, just play the notes! And yes, the performance sounds just right.
Don’t think about it. Let’s just quite snd say there’s a Tuplet at play which’s number has been omitted
There's a friggin' CLEF CHANGE in some of this....to think a human being can play this on a piano boggles my mind.
What do you mean?
why are they called IMAGES OUBLIEES?
Are the lost?
They weren't published until after Debussy's death.
Plus he has another set of Images, Books I and II, published in 1905 and 1907.
11:53
A charming set, but not as much as the other more famous sets of images.
Zappa quoted this piece.
00:20 that's so anime 💕
I agree with you. I understand why, I cannot explain why but I understand and that's normal to feel that and recognize it. Thanks for your comment.
Alluding to lIszt's Valses oubliees?
No. It was originally just called Images. It wasn't published during Debussy's lifetime so it was "forgotten."
Assez la cloche!
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