Building a Collection #51
La Mer
By Claude Debussy
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Welcome back to regular readers, and if you are a new visitor I want to extend a warm welcome as well. I hope you find something here to fill your heart and soul for the journey. Music is such an important part of my life, and I know it is for many of you as well. My guess is if you are reading this you have more than a passing interest in the great composers and the greatest music ever written. We began counting up from #1 and will eventually reach #250 in a survey of the 250 greatest classical works of all-time. I invite you to peruse my previous posts to find any key works you are particularly fond of, and you will also find my recommendations for the best recordings (in my humble opinion).
We have reached #51 and the slot is occupied by Claude Debussy’s masterpiece La Mer. Some of you may recall I covered La Mer in my short-lived Desert Island Classics series over a year ago now, and in the interest of full disclosure I am using much of my own post from that time with some edits of course.
Claude Debussy
The French composer Achille-Claude Debussy was born in 1862 and died in 1918. He composed the score for La Mer (“The Sea”) between 1903 and 1905, and the premiere was performed in October 1905 by the Lamoureux Orchestra in Paris, conducted by Camille Chevillard. La Mer is a three-movement series of orchestral sketches on the subject of the sea and is considered one of the most important works of the 20th-century and of modern classical music.
Debussy is sometimes referred to as the first “Impressionist” composer. Impressionism in music was a movement among various composers in Western classical music (mainly during the very late 19th and early 20th centuries) whose music focuses on mood and atmosphere, conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture. "Impressionism" is a philosophical and aesthetic term borrowed from late 19th-century French painting after Monet's Impression, Sunrise. Composers were labeled Impressionists by analogy to the Impressionist painters who use starkly contrasting colors, the effects of light on an object, often with blurry foregrounds and backgrounds, flattening perspective, etc. to make the observer focus their attention on the overall impression.
Even though Debussy and fellow French composer Maurice Ravel are considered the foremost figures in Impressionist music, Debussy rejected the label to describe his own music, declaring in a 1908 letter: "imbeciles call what I am trying to write 'impressionism', a term employed with the utmost inaccuracy, especially by art critics who use it as a label to stick on Turner, the finest creator of mystery in the whole of art!" Some scholars believe Debussy rejected the label because at the time it carried quite a negative connotation, and so if he were alive today, he very well might agree with it. Fair or not, this categorization has persisted for Debussy’s music. You can decide for yourself.
Most musicians and critics consider Debussy’s Prélude à l'après-midi d'un faune (1894) to be his first great orchestral piece. It was viewed as a completely original and personal work with an ideal economy of structure and content. Three other famous Debussy works from the same decade are his String Quartet (1893), his opéra Pelléas et Mélisande (1893–1902), and the Nocturnes for Orchestra (1899). The amazing piano piece Clair de Lune (from Suite Bergamasque) comes from the end of that period as well. Later works which further elevated Debussy’s reputation include the five-act musical play Le Martyre de saint Sébastien (1911), Images pour orchestre (1905-1912), Préludes (1909-1913), and Études (1915).
How to best describe Debussy’s music? Debussy was modern in his use of atonality, but he also intended to create music which stimulated the senses. The French Symbolism movement of the time influenced Debussy as well, using metaphorical and indirect language to evoke an emotional response. Musical analyst Rudolph Reti identified the following factors which he said established a new concept of tonality in European music:
Glittering passages and webs of figurations which distract from occasional absence of tonality;
Frequent use of parallel chords which are “in essence not harmonies at all, but rather ‘chordal melodies’, enriched unisons,” described by some writers as non-functional harmonies;
Bitonality (the use of two different keys at the same time), or at least bitonal chords;
Use of the whole-tone and pentatonic scale;
Unprepared modulations, “without any harmonic bridge.”
I had to look up the meaning of some of those terms above, but to summarize Debussy was unconventional and experimental in creating music which defied traditional norms and introduced a new sound world to listeners.
La Mer
Despite the title of this three-movement symphonic sketch, Debussy actually had little real experience as an adult with the sea other than a few outings walking along the beach. However, he fondly recalled his family’s childhood summer vacations at Cannes, where he learned to love the sea. Allegedly his parents even fancied the young boy would grow up to be a sailor, that is until he began piano lessons at the age of 9 and progressed so rapidly that within a year he was studying piano at the Paris Conservatory. Some thirty years later Debussy claimed he was able to call upon those childhood memories during his work on La Mer, even saying his memories were “worth more than reality, which generally weighs down one’s thoughts too heavily.”
La Mer consists of the following three movements:
I."De l'aube à midi sur la mer" – très lent – animez peu à peu ("From dawn to noon on the sea" or "From dawn to midday on the sea" – very slow – animate little by little)
II. "Jeux de vagues" – allegro (dans un rythme très souple) – animé ("Play of the Waves" – allegro (with a very versatile rhythm) – animated)
III. "Dialogue du vent et de la mer" – animé et tumultueux – cédez très légèrement ("Dialogue of the wind and the sea" or "Dialogue between wind and waves" – animated and tumultuous, ease up very slightly)
There is no doubt Debussy also took inspiration from literature and art as well. His original title for the first movement was Mer belle aux Iles Sanguinaires, which was the title of a short story by Camille Mauclair published in 1893 (“Iles Sanguinaires” being the French name for Sardinia and Corsica). Eventually he changed it to De l'aube à midi sur la mer. But Debussy clearly also took inspiration from art, especially from the sea paintings of William Turner, the English Romantic painter. Debussy likely saw these paintings in Paris or London in the early 1900s, and greatly admired them. Perhaps an even more important influence on Debussy were the paintings of Japanese artists Hokusai and Hiroshige, both of whom had become very popular in France at the end of the nineteenth century. Rather famously, when the score of La Mer was published, Debussy requested that the cover used a copy of Hokusai’s most famous work, The Hollow of the Wave off Kanagawa, seen here:
At the time of Debussy’s composition of La Mer, his only opera Pelleas et Melisande had recently been a great success and his confidence in his craft was growing and he embarked upon a very productive period. Debussy’s own description of La Mer was modest, calling it “three symphonic sketches”. In reality La Mer is more substantial than that, and it would be more accurate to call it a symphony. Its movements certainly have a connection to each other in an almost symbiotic way, and there is definitely a sense that the work builds tension and releases it through several climaxes. I find that La Mer pays dividends through repeated listening and by noticing the brilliant details in the score which are revealed in both subtle and less subtle ways. It is one of the greatest French works in the repertoire, and it represents the modern classical period well. Fortunately, it is also quite accessible and easy to understand for the listener.
The premiere was not a success, but its fortunes soon turned around when Debussy himself took up the baton to conduct the work in Paris in January 1908. Incredibly, Debussy himself had never conducted an orchestra before these performances. It was well-received in Paris and soon was being played all over Europe and the United States. La Mer became an enormous success, and the work remains one of the most frequently played orchestral works around the world.
The first movement relates the progression from darkness to light, as objects are gradually able to be seen. The music is very evocative of how the light gradually sheds light and things become clearer, eventually building to more activity and a large climax at the conclusion. The second movement is lighter and delicate, a calmer interlude between the two stormier movements. The final movement begins with the lower strings playing ominously depicting waves beginning to surge (for a moment the theme from the movie “Jaws” may come to mind), leading to quite a bit of storminess in the woodwinds. We hear the wind and the waves mash-up in a struggle which is developed for a good length of time, using material from the first movement. Debussy builds this conflict into a quite satisfying and brilliant ending.
Essential Recording
For the proverbial desert island, I would want to take with me Claudio Abbado’s ravishing recording of La Mer with the Lucerne Festival Orchestra recorded in 2004 on the Deutsche Grammophon label. The recording brings luminous playing of great insight and detail, and Abbado expertly builds the tension with keen attention to dynamics. The rhythmically pointed direction brings sparkling contributions from every section, but nothing is over cooked. Balances are nearly ideal, woodwinds are full and plangent, and the brass are clear and resonant. The shimmering tam-tam at the end of the first movement is thrilling. The light and shade of the second movement depicted in the strings and the oboe are delightfully executed, and Abbado has a wonderful acceleration going into the crashing of the waves. The harp is heard clearly, and the ending is gentle and poignant. The final movement is incisive, with the main theme heard on woodwind with pulsing bass underneath. The drama builds gradually but surely, and then the great climax explodes in a thrilling peroration. The calm that follows is agitated by the prominent buzzing going on behind it. The first theme returns, and it brings goosebumps with excellent detail and a satisfying conclusion. This is a recording of poise, maturity, balance, and impressive virtuosity. Audience applause is included, which I don’t mind but may be off-putting for some folks. Abbado is a conductor I sometimes have a hard time appreciating or connecting with, but that is not the case here. Highly recommended.
Recommended Recordings
Legendary Italian conductor Arturo Toscanini clearly loved La Mer, as he performed it many times, and recorded it seven times between 1935 and 1953. The best sounding, and at least the equal to any as a performance, is the 1950 recording with the NBC Symphony Orchestra from Carnegie Hall, recorded by RCA Victor. What you may notice the most is the forward momentum that Toscanini maintains, a hallmark of his conducting in general. This is a detailed, strongly accented reading which is revelatory in many ways. The well-drilled and outstanding NBC orchestra play with panache and refinement. The third movement is probably the most striking storm sequence on record, played with intensity and virtuosity. I believe this is hands down one of Toscanini’s greatest recordings and not to be missed.
Perhaps not surprisingly Toscanini’s young protege Guido Cantelli, a sensational young Italian conductor, also left us with one of the best recordings of La Mer, albeit not in the best sound quality. Cantelli’s life and career were tragically cut short when he died in a plane crash at the age of 36, only one week after being named director of the La Scala Opera House in Milan. Cantelli recorded La Mer in 1954 with the Philharmonia Orchestra in Kingsway Hall in London, for the EMI label (now Warner). Despite the somewhat distant sound, through the veil you can hear a brisk, direct, and natural reading. Cantelli was especially skilled at balancing the sound of the orchestra, and you can hear that on this recording as it is beautifully played and contains some delightful insights.
The recording I turn to the most after Abbado’s above is Pierre Boulez’s second recording from 1995 with The Cleveland Orchestra on Deutsche Grammophon. The recorded sound is excellent, warm and detailed. The playing of the Cleveland Orchestra is refined and vivid. Boulez’s attention to dynamics and balance is meticulous, and everything is in its place. This is a reading of sweep and grandeur, and while there is plenty of drama and tension, things never get out of hand. The playing of the woodwinds, brass, percussion, and harp are pointed and well-shaped and the control exercised by Boulez is impressive. The ominous opening of the final movement is handled perfectly, and the trumpet calls and fanfares are quite effective. The main theme sounds mysterious and agitated, and the climax at about 3’00’’ is intense. What Boulez does so well here is build the structure, and the orchestra brings all his vision to life in a sensational performance.
French conductor Stéphane Denève and the Royal Scottish National Orchestra released an excellent collection of Debussy’s music on the Chandos label in 2012, and it is headlined by an outstanding recording of La Mer. Recorded in the warm acoustic of Glasgow’s Royal Concert Hall, this is an understanding reading that emphasizes the forward flow of the music. It sounds so natural and almost spontaneous and we get to feel the sea swells as well as picture them. The recording is astonishing in its detail, and certainly up to Chandos high engineering standards. Denève lets the music speak for itself, but also brings a refreshing warmth and brilliance when needed. The second movement is lovely in its subtlety and wit, and Denève builds the orchestra into a sort of controlled frenzy. The final movement packs a punch but not at the expense of the innate lyricism in the score. The conclusion is extremely well done, and thrilling. Beware, the boom about 3’00” into the final movement will clear your cobwebs!
Swiss conductor Ernest Ansermet made many, many recordings with the orchestra he founded in 1918, the Orchestre de la Suisse Romande, most of those recordings for the Decca label. Ansermet made his mark especially with 20th century music and new compositions. Ansermet knew Debussy, and consulted with him on how his works should be performed. Ansermet and the OSR recorded La Mer no fewer than four times for Decca, the finest being the 1957 stereo version. The sound is strikingly good for its age, and it is amazingly realistic and clear. I have listened to many of Ansermet’s recordings of various works, and this is one of his best recorded legacies. The trumpet fanfares in the third movement are vivid and add character. It is a taut and forward-moving reading, with a sense of drama underlying each movement. The climaxes may not be as “cinematic” as some more recent recordings, but there is lots of personality and insight.
A 1990 live recording with the same orchestra, the Orchestre de la Suisse Romande, is led by another Swiss conductor Armin Jordan on a recording available on streaming services (although I cannot find it on Amazon), released by Radio Suisse Romande. This is really great stuff, there is a wonderful atmosphere, and the music really breathes and moves. The softer sections, particularly in the second movement, are breathtakingly beautiful. The balance is quite good for a live recording, the percussion is outstanding, and the brass are prominent without being overbearing. I love that Jordan is in no rush to get through things, he lets the music marinate, and that works to create a spaciousness and warmth not achieved on other recordings. The brilliant fanfares are included. A triumph in every way.
Finally in the recommended category is the 2006 recording by the Hallé Orchestra of Manchester, England led by Sir Mark Elder, released by the Hallé Concerts Society. First, the sound is excellent in this live recording. Getting past a rather metronomic opening, Elder is able to draw lovely playing from the woodwinds and brass and there is a lot of detail brought to the fore not heard on other recordings. The orchestra is alert to the rhythmic accents, and they bring a luxurious sound to the first movement. The control of tempo and dynamics is impressive. The horns are particularly noteworthy, and it sounds like the horns and trumpets together do the fanfares in the third movement. The recording has a great presence and sense of occasion.
Other Notable Recordings
Boston Symphony Orchestra / Charles Munch (RCA 1956)
London Symphony Orchestra / Leopold Stokowski (Decca 1969)
Philharmonia Orchestra / Michael Tilson Thomas (Sony 1983)
Orchestre Symphonique de Montréal / Charles Dutoit (Decca 1990)
Los Angeles Philharmonic / Esa-Pekka Salonen (Sony 1997)
Singapore Symphony Orchestra / Lan Shui (BIS 2004)
Orchestre National de France / Emmanuel Krivine (Erato 2018)
I hope you are inspired to listen to more Debussy! I know I have enjoyed this survey through the waters of La Mer. Join me for the next installment when we discuss #52 on the list: Nikolai Rimsky-Korsakov’s colorful orchestral work Scheherazade.
Until next time, happy listening!
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Notes:
Burkholder, J. Peter. Grout, Donald J. and Palisca, Claude V. A History of Western Music, eighth edition (New York: W. W. Norton & Company, 2010). ISBN 978-0-393-93280-5.
Cowan, Rob. Debussy’s La Mer: a complete guide to the best recordings. Online at gramophone.co.uk. September 18, 2018.
Kennedy, Michael. "Impressionism", The Oxford Dictionary of Music, second edition, revised, Joyce Bourne, associate editor (Oxford and New York: Oxford University Press, 2006). ISBN 978-0-19-861459-3.
François Lesure and Roger Nichols, Debussy Letters (Harvard University Press, 1987): p. 188. ISBN 978-0-674-19429-8.
Ledbetter, Steven. Claude Debussy: La Mer, Three Symphonic Sketches. Boston Symphony Orchestra Program Notes. 2003-2004 Season. October 11, 2003. Pp. 39-43.
Lesure, François; Howat, Roy (2001). "Debussy, (Achille-)Claude". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0.
Newman, Ernest. "The Development of Debussy", The Musical Times, May 1918, pp. 119–203 (subscription required).
Pasler, Jann. "Debussy, Jeux: Playing with Time and Form", 19th-Century Music, Summer 1982, pp. 60–75 (subscription required).
https://courses.lumenlearning.com/suny-musicapp-medieval-modern/chapter/claude-debussy/
https://en.wikipedia.org/wiki/La_mer_(Debussy)
https://en.wikipedia.org/wiki/Impressionism_in_music