Tag: Impressionism

  • The Untimely Ends of Charles Tomlinson Griffes and Coleridge’s Pleasure Dome

    The Untimely Ends of Charles Tomlinson Griffes and Coleridge’s Pleasure Dome

    “In Xanadu did Kubla Khan
    A stately pleasure-dome decree…”

    Sounds good to me! As I sit here like Sardanapalus luxuriating amidst my musical treasures, I contemplate the short life and creative promise of Charles Tomlinson Griffes.

    Griffes’ was a unique voice in American music. At the beginning of his life, our native composers mostly emulated Mendelssohn, Schumann and Brahms; by the end, they were starting to gravitate toward jazz. By contrast, Griffes, like the painter Mary Cassatt, was attracted to French Impressionism (oddly, he studied in Germany with Engelbert Humperdinck, of “Hansel and Gretel” fame), yet the weird incense of Scriabin also permeates his work.

    He is best known for dreamy meditations like “The White Peacock” and “The Pleasure Dome of Kubla Khan,” after Coleridge.

    Griffes was born in Elmira, NY, on this date in 1884. He died of influenza in 1920, aged only 35 years. (No flu vaccine then.) Elmira was Mark Twain’s home from 1870. Twain was in Elmira putting the finishing touches on “The Adventures of Huckleberry Finn” the year Griffes was born. I’ve sometimes wondered if the two ever met. It has been documented that Griffes saw Twain there when moving about the streets. They certainly adhered to very different aesthetics.

    It was Pierre Monteux, who introduced Ravel’s “Daphnis and Chloe,” Debussy’s “Jeux,” and Stravinsky’s “Petrushka” and “The Rite of Spring” with the Ballets Russes, that unlocked the Pleasure Dome for the first time, with the Boston Symphony Orchestra in 1916.

    You’ll recall Samuel Taylor Coleridge launched into his famous poem one night in 1797, after waking from an opium-induced dream, only to be interrupted by a knock at the door. When he returned to his desk, he was unable to pick up the thread. According to Coleridge, he envisioned the work as two or three hundred lines, but he found he’d forgotten the words! (Oh, how I can relate to this…) We can thank Lord Byron for convincing him to publish it, finally, in 1816.

    Here’s Coleridge’s phantasmagoric fragment, to refresh your memory.

    https://www.poetryfoundation.org/poems/43991/kubla-khan

    Give yourself over to absolute pleasure with Charles Tomlinson Griffes’ musical impressions of “Kubla Khan.”

    ________________________________________

    IMAGE: Delacroix, “The Death of Sardanapalus.” It’s good to be the king.

  • Debussy’s La Mer Das Merde Szell Fails?

    Debussy’s La Mer Das Merde Szell Fails?

    One wag commented on a performance of Debussy’s impressionistic magnum opus conducted by George Szell, “He tried Debussy’s ‘La Mer’ once. It came out as ‘Das Merde.’”

    Great conductor. Great composer. But not all marriages are meant to be (as Debussy well knew).

    Happy birthday, Claude Debussy!

    Debussy in the W.C.?

  • Debussy 20th Century Music Dark Horse?

    Debussy 20th Century Music Dark Horse?

    Is Claude Debussy the dark horse of 20th century music? While seemingly the entire musical world was polarized between Stravinsky and Schoenberg, no one seemed to care that 20th century music never would have happened without Debussy.

    Debussy saw to it that music could be as diffuse as the light in an impressionist painting. He swirled his brush in the harmonic procedures of the 19th century and devised a 21-note scale to obscure the conventional sense of tonality. True to form, Debussy played fast and loose even with his own system.

    He also challenged the traditional use of instruments, using strings, winds and brass for coloristic ends as opposed to pushing lyricism for lyricism’s sake. The layout of an orchestra is undermined, with each instrument instead frequently treated as a soloist in a great chamber ensemble.

    He also stretched the concept of piano music, so that eighth notes, quarter notes, and half notes are as illusive as objects viewed through a heat shimmer. His chords seem to have no resolution (the composer referred to them himself as “floating chords”) and whole tone scales abound.

    Had he not died of cancer in 1918, at the age of 55, who knows how far he would have gone?

    Happy birthday, Claude Debussy!


    “Feux d’artifice” (“Fireworks,” 1913), from the second book of Preludes, played by Marc-André Hamelin:

    While not my favorite Debussy piece, “Jeux” (“Games,” 1912) is really out there:

    From much earlier, the chromatic flute and recurring tritone in a work everyone can enjoy, “Prélude à l’après-midi d’un faune” (“Prelude to the Afternoon of a Faun,” 1894), danced here by Nureyev:

    https://www.youtube.com/watch?v=zzzF21CFJFE

    PHOTO: Fauning over Debussy

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