發問時間: 社會與文化語言 · 1 0 年前



Debussy's Violin Sonata presents a superb balance of sweetness, fire, humor, and nostalgia. It is a work imbued with deep melancholy that also embodies other characteristic traits that make Debussy's work distinguishable from others: a sense of fantasy, freedom, and affective depth. Written at the very end of the composer's life, the Sonata is one of the finest examples of Debussy's compositional and artistic dexterity. At the time of this composition, Debussy was already ill with terminal cancer. He had continued to write despite his failing health, partly for financial reasons. It was in 1915 that he began a project of writing six sonatas for various instrumentations; the Violin Sonata was the third in the set, and the last work he completed before his death.

Lionized by Ravel and detested by Saint-Saens, Debussy was a patriotic Frenchman, who worked hard to protect and preserve French culture. His opera, Pelléas et Mélisande, produced in 1902, was a landmark of French music that strongly influenced both his contemporaries and younger composers. Considered the first and foremost Impressionist composer, Debussy had a style marked by Japonism and innovative harmonies and tone color that was also characterized by understatement and emotional warmth.

The challenge for the violin-piano duo in the Violin Sonata is the collaboration of senses and spirit. Unlike sonatas from earlier periods, or other sonatas of Debussy's time, the two instruments do not accompany each other per se; rather, one instrument leads with a pulling energy against the counter melody or motif of the other. Ultimately, this creates a different kind of sonority and texture; the two instruments challenge one another but their arguments ultimately bring them closer together.



The poignant opening chords of the first movement of Debussy's Violin Sonata, Allegro vivo, played by the piano, immediately transport the listener into a subdued atmosphere, enveloped in nostalgia and sadness.

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The movement is filled with rhythmic and harmonic ambiguity with an ongoing momentum, regardless of speed.

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In contrast, the middle movement, Fantasque et léger, as indicated by its marking, is mostly light and fantastic, capricious with a hint of coquettishness and with a second theme as surprisingly melodious as it is sensuous.

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Debussy finished the final movement, Très animé, in October 1916, four months before he completed the preceding two movements.

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It begins with running notes in the piano, punctuated with a melodic emphasis from the second theme of the previous movement.

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The violin then enters in a slightly modified handling of the nostalgic theme from the beginning of the sonata. The main bulk of the movement, however, is a showcase of agility with a splash.

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In particular, Debussy uses the maximum pitch range available on the violin, going from the open G (lowest possible note of the instrument) to a C-sharp at three octaves and a half-step above the middle C. For the piano, he demands a tremolo-like speed with atmospheric lightness of touch.

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2 個解答

  • 1 0 年前


    lionized由拉威爾和討厭聖桑,德布西是愛國法國人,誰努力工作,保障和維護法語文化。他的歌劇, pelléas等mélisande ,產生於1902年,是一個具有里程碑意義的法語音樂的強烈影響,他的同時代的和年輕的作曲家。考慮的首要印象派作曲家德彪西有一幟的標誌japonism和創新的和諧和音色這也是其特點是輕描淡寫和情感的溫暖。





    相比之下,中移動, fantasque等弗朗索瓦萊熱表明的那樣,它的標識,大多是輕神奇,任性,以暗示的coquettishness並與第二個主題出乎意料悠揚的,因為它是感性的。

    德布西完成最後運動, tr鑣動畫作品,在1916年10月, 4個月前,他完成了前兩個動作。



    尤其是,德布西用途,最高間距範圍可於小提琴,從開放式G (上盡可能以最低的注意儀表)的C夏普在三個八度,並每半年以上步驟中長為鋼琴伴奏下,他要求顫音般的速度與大氣之輕觸摸。

    參考資料: 自己
  • 大師
    Lv 6
    1 0 年前

    德布西的小提琴Sonata 提出甜、火、幽默, 和鄉情雄偉平衡。這是工作被灌輸以並且實現其它典型特徵由其他人使德布西的工作可區分的深刻的憂鬱: 幻想、自由, 和感動深度感覺。寫在作曲家的生活的最後, Sonata 是一個德布西的最美好的例子作文和藝術性的手巧。在這構成之時, 德布西已經是不適以癌症。他繼續寫儘管他的failing 健康, 部分為財政原因。1915 年是, 他開始了文字六sonatas 項目因為各種instrumentations; 小提琴Sonata 是三在集合, 和他完成在他的死亡之前的最後工作。 由混亂Lionized 和由Saint-Saens Saens 厭恨, 德布西是一個愛國法國人, 艱苦服務保護和保存法國文化。他的歌劇、Pell3eas 和M3elisande, 1902 年被生產, 是強烈影響他的當代和更加年輕的作曲家法國音樂的地標。首要考慮了印象主義者的作曲家, 德布西安排樣式由Japonism 和為謹慎的陳述和情感溫暖並且描繪的創新和諧和音色標記。 挑戰為小提琴鋼琴二重奏在小提琴Sonata 是感覺和精神的合作。不同於sonatas 從更加早期的期間, 或德布西的時間其它sonatas, 二臺儀器不互相伴隨就其本身而言; 相反, 一臺儀器帶領以拉扯的能量反對其他的逆曲調或主題。最後, 這創造一种另外sonority 和紋理; 二臺儀器挑戰但他們的論據最後帶來他們更加緊密。