Unknown impressionism
Download 3.96 Mb.
|
DELIUS“Three Preludes” (1923) for piano by F. Delius have been written at the end of his late period works (as it is generally known actually this period finished in 1925) and these preludes have represented Delius’ attitude to Impressionism in genre of a chamber miniature (in this case for solo piano) which wasn`t wide-spread among other genres in this composer`s works. That’s why “Preludes” have remained in a shadow of his picturesque tone poems for an orchestra for many truly charmed by them Delius` biographers. In “Prelude I” we can observe an interesting result of the form construction. Here the composer destructs traditional (classical) sense of this notion, proposing instead of this an idea of a tune germination. Beginning from a long demonstrating of the tune consisted of quaver with a point, semiquaver and quaver, then the author introduces a new one which later would became a main material of a music flow. (Ex.8) Ex. 8 Frederick Delius, Prelude No. 1, bars 9–11 
Despite of a traditional period form “Prelude III” also has structure peculiarities in sense of Impressionism. So the first sentence, consisted of four elements a + a1 + a2 + a3, is based every time on renovating tune a. (Ex.9) Ex. 9 Frederick Delius, Prelude No. 3 
Apparently at the second time an upper line of a tune is identical to the first one but a lower line has a little change. At the third time an idea of a change touches the tune upper line too and at last at the fourth time the tune appears more broadened (five bars) for formation of a cadenca. This kind of the thematic development creates an effect of changeability similar as on the pictures by impressionists where a change of light and shadow is a distinguishing feature. In many respects a vivid character of the “Preludes” attains with a help of the Delius’ harmonic language and his attitude to a modal system. For example, in “Prelude II” in the upper texture line the basis of figurations is represented by inverted secondary seventh chord with minor third and with fourth without resolution (it’s typically for Impressionism). Besides in lower line as we can see there is a rare whole-tone scale, which gives colourful effect too. (Ex.10) Ex. 10 Frederick Delius, Prelude No. 2 
It is revealing how Delius interpretes a final tonic in every of these pieces. At the first one he demonstrates a phenomenon of be-tonality – superposition of relative keys D major and h minor. The ending tonical chord of “Prelude II” is a secondary seventh chord with major seventh. In the “Prelude III” Delius has used compound sound complex: major triad (D) + complex from two perfect fourthes (f–h–e). (Ex.11a, 11b, 11c) Ex. 11a Frederick Delius, Prelude No. 1, the final bars 
Ex. 11b Frederick Delius, Prelude No. 2, the final bars 
Ex. 11c Frederick Delius, Prelude No. 3, the final bars 
A desire to put on the first place an effect of colourfulness forces out an idea of development (in traditional sense). In particular “Prelude II” (where the features of ternary form are represented brightly) gives an interesting realization of a contrast problem: the second section of the piece as a matter of fact displays only a change of tonalities E major – D major – E major – d minor — H major without any other peculiarities. (Ex.12) Ex. 12 Frederick Delius, Prelude No. 2, bars 13–18 
Thus, in the “Preludes” Delius has given for us a real possibility to examine the manifestations of Impressionism as a music style. Christopher Palmer considered that …exposure to the Impressionist aesthetics played a large part in the crystallisation of his individual style, above all with regard to his concept of harmony. Debussy and Delius may have differed greatly in their respective harmonic techniques, but the principle of emancipated discord, with unconditional repeal of all lows relating to preparation and resolution, formed the point de départ for both of them. Delius would have been receptive to such procedures both as result of his own practical experiments at the keyboard and though his great love to Grieg8. Download 3.96 Mb. Share with your friends:
|