{{Short description|Composition (1905–1912) Claude Debussy}} {{Distinguish|Images (piano suite)}} {{italic title}} {{Infobox musical composition | name = ''Images pour orchestre'' | subtitle = | type = Orchestral music | composer = Claude Debussy | image = Ibéria de Debussy, esquisses.jpg | image_upright = 1.3 | caption = Orchestral sketches for parts 1 and 3 of ''Ibéria'', autograph by Debussy | translation = ''Images for Orchestra'' | key = | catalogue = L. 122 | dedication = Emma Bardac | based_on = | movements = three sections, five movements | composed = {{start date|1905}}–1912 | performed = {{start date and age|1913|1|26|df=y}}<br>Paris<br /> | scoring = | published = }}
'''''Images pour orchestre''''', L. 122, is an orchestral composition in three sections by Claude Debussy, written between 1905 and 1912. Debussy had originally intended this set of ''Images'' as a two-piano sequel to the first set of ''Images'' for solo piano, as described in a letter to his publisher Durand in September 1905. However, by March 1906, in another letter to Durand, he had begun to think of arranging the work for orchestra rather than two pianos.<ref name="Orledge">{{cite journal | last=Orledge | first=Robert|author-link=Robert Orledge| title=Debussy's Musical Gifts to Emma Bardac | journal=The Musical Quarterly | volume=LX | issue=4 | pages=544–556 | date=1974 | doi=10.1093/mq/LX.4.544}}</ref> Debussy dedicated the work to his second wife, Emma Bardac.
== Scoring == ''Images pour orchestre'' is scored for a large orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, oboe d'amore, cor anglais, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets (in C), 3 trombones, tuba, timpani, field drum, tambourine, castanets, 2 harps, celesta, triangle, xylophone, cymbals, 3 bells, and strings.
== Sections ==
===I. ''Gigues'' (1909–1912)===
The original title of ''Gigues'' was ''Gigues tristes''. Debussy used his memories of England as inspiration for the music, in addition to the song "Dansons la gigue" by Charles Bordes<ref name="Spencer"/> and the Tyneside folk tune "The Keel Row",<ref>{{cite journal | last=Pirie | first=Peter J.|author-link=Peter J. Pirie| title=Portrait of Debussy. 5: Debussy and English Music | journal=The Musical Times| volume=108 | issue=1493 | pages=599–601 | doi=10.2307/953799 | year=1967 | jstor=953799}}</ref> which are used as key themes. Revolving around ''Gigues'' are musical cells which give a sense of unity to the piece. Most are short motifs which appear once or twice or are reused in fragments throughout the piece. Other themes are long solo passages written particularly for the oboe d'amore.
There is debate over the role of André Caplet in the orchestration of ''Gigues''. Robert Orledge and Williametta Spencer have accepted that Caplet assisted with the orchestration.<ref name="Spencer">{{cite journal |last=Spencer |first=Williametta|author-link=Williametta Spencer| title=The Relationship between André Caplet and Claude Debussy | journal=The Musical Quarterly | volume=LXVI | issue=1 | pages=112–131 | date=1980 | doi=10.1093/mq/LXVI.1.112}}</ref><ref>{{cite journal | last=Orledge |first=Robert|author-link=Robert Orledge| title=Debussy's Orchestral Collaborations, 1911–13. 1: ''Le martyre de Saint-Sébastien''|journal=The Musical Times| volume=115 | issue=1582 | pages=1030–1035 | date=1974 | doi=10.2307/960380| jstor=960380}}</ref> According to François Lesure, however, the manuscript score in the Bibliothèque nationale (MS 1010) shows no evidence of Caplet's involvement.<ref>{{cite journal | last=Orledge |first=Robert|author-link=Robert Orledge| title=Reviews of Books: ''Claude Debussy: biographie critique'' by François Lesure |journal=Music & Letters| volume=77 | issue=1 | pages=132–133 | date=1996 |doi=10.1093/ml/77.1.132 | jstor=737556}}</ref>
=== II. ''Ibéria'' (1905–1908) === ''Ibéria'' is the most popular of the three orchestral ''Images'' and itself forms a triptych within the triptych. Its sections are: {{ordered list|list_style_type=lower-roman | ''Par les rues et par les chemins'' (Along the streets and along the paths) | ''Les parfums de la nuit'' (The scents of the night) | ''Le matin d'un jour de fête'' (The morning of a festive day) – a procession of a 'banda de guitarras' }} Impressions of Spain inspired this music. Richard Langham Smith has commented on Debussy's own wish to incorporate ideas of juxtaposing elements of the visual arts in musical terms,<ref>Richard Langham Smith, "Debussy and the Art of the Cinema" (January 1973). ''Music & Letters'', '''54''' (1): pp. 61–70.</ref> including a quote from Debussy to Caplet from a letter of 26 February 1910: "You can't imagine how naturally the transition works between 'Parfums de la nuit' and 'Le Matin d'un jour de fête. ''Ça n'a pas l'air d'être écrit''."''<ref>Paul Driver, "Debussy through His Letters" (December 1987). ''The Musical Times'', '''128''' (1738): pp. 687–689.</ref>''
Matthew Brown has briefly commented on Debussy's use of techniques such as incomplete progressions, parenthetical episodes, and interpolations in ''Ibéria''.<ref name="Brown">{{cite journal | last=Brown |first=Matthew|author-link=Matthew Brown (academic)| title=Tonality and Form in Debussy's ''Prélude à 'L'Après-midi d'un faune'' |journal=Music Theory Spectrum| volume=15 | issue=2 | pages=127–143 | date=Autumn 1993 | doi=10.1525/mts.1993.15.2.02a00010 | jstor=745811}}</ref>
===III. ''Rondes de printemps'' ("Round dances of spring") (1905–1909)=== Debussy used two folk tunes, "Nous n'irons plus au bois" and "Do, do l'enfant do" in this movement.<ref name="Brown"/> Brown, Dempster and Headlam have analyzed the tonal structure of this movement.<ref>{{cite journal|last1=Brown|first1=Matthew|author1-link=Matthew Brown (academic)|last2=Dempster|first2=Douglas|last3=Headlam|first3=Dave|title=The {{music|♯}}IV({{music|♭}}V) Hypothesis: Testing the Limits of Schenker's Theory of Tonality|journal=Music Theory Spectrum|volume=19|issue=2|pages=155–183|date=Autumn 1997|doi=10.1525/mts.1997.19.2.02a00020|jstor=745752}}</ref> The first song plays a prominent role from the start of the {{music|time|15|8}} time until the end of the movement, in the solos and in the accompaniments and countermelodies. Debussy had already quoted the song ''Nous n'irons plus au bois'' in ''Images oubliées'' of 1894 for piano and in ''Jardins sous la pluie'' from ''Estampes'' (1903).
==Performance history== The premiere of the entire triptych was given on 26 January 1913, under Debussy's baton at the Concerts Colonne.{{Sfn|Lesure|2003|p=540}}
The ''Iberia'' movement had already been given a public performance on 20 February 1910 at the Concerts Colonne, conducted by Gabriel Pierné.{{Sfn|Lesure|2003|p=541}} The ''Rondes de printemps'' movement was given a performance as well, on 2 March of the same year at the Durand Concerts at the Salle Gaveau, conducted by the composer.{{Sfn|Lesure|2003|p=542}}
The British premiere was on 18 September 1913 at the Promenade Concerts, under the baton of Henry Wood.<ref>{{Cite web |date=18 September 1913 |title=Prom 29 |url=https://www.bbc.co.uk/events/enx4wh |website=BBC}}</ref>
==References== {{reflist}}
'''Sources''' * {{cite book|last=Lesure|first=François|author-link=François Lesure|year=2003|title=Claude Debussy|language=fr|location=Paris|publisher=Fayard|isbn=2-213-61619-1}}
==External links== * {{IMSLP|work=Images pour orchestre (Debussy, Claude)|cname=''Images pour orchestre'' (Debussy)}} * [https://web.archive.org/web/20060622060942/http://www.oldandsold.com/articles06/sy47.shtml "Claude Achille Debussy – Iberia: Images for Orchestra, No. 2"], unknown author, 1935 article, via oldandsold.com (archive from 22 June 2006) * {{YouTube|f4vQMXzHsgo|Animated score}}, Orchestre National de Lyon, conductor: Jun Märkl
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Category:Suites by Claude Debussy Category:1908 compositions Category:1909 compositions Category:1912 compositions Category:Compositions for symphony orchestra Category:Orchestral suites Category:Compositions using folk songs Category:Music dedicated to family or friends