An Examination of Claude Debussy's Prelude Predicated on Stephane Mallarme's Poem The Afternoon of a Faun
A very intelligent person once explained that authoring music is like dancing about architecture, yet here we are. It may be written that Claude Debussy’s functions are the consequence of applying the impressionistic tactics of Monet, Renoir and van Gogh to the staff as opposed to the canvas, as Debussy may also be considered the father of musical impressionism, which description wouldn't normally be far off the tag. Debussy’s music, instead of concentrating on theme or motif, evokes the sensation of the problem it depicts. For example, his ever-well known Clair de Lune, translated as “Moonlight,” is evocative of romance under a glowing moon. This paper will spotlight another piece, even so: Prelude A L’pres-midi D’un Faune; it will consider the contextual implications of the ballet of the same name.
First debut in 1894, the Prelude is founded on a poem by
Stéphane Mallarmé known as “The Afternoon of a Faun,” which,
relating to Roger Kamien in his textbook, Music: An Appreciation,
“evokes the dreams and erotic fantasies of a pagan forest creature
who's half-man, half-goat.” Though barely arousal, the musical
piece which the poem is situated creates very beautiful, very
passionate romantic imagery.
The music opens with a solo flute repeating an arpeggio that quickly
turns into a motif through the ten minutes