Prélude à l'après-midi d'un faune
Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in 1894 and first performed in Paris on 22 December 1894, conducted by Gustave Doret.[1][2] The flute solo was played by Georges Barrère.
This article is about the musical composition by Claude Debussy. For the ballet based on it, see Afternoon of a Faun (Nijinsky). For the poem which it illustrates, see L'après-midi d'un faune (poem). For other uses, see Afternoon of a Faun (disambiguation).Prélude à l'après-midi d'un faune
Prelude to the Afternoon of a Faun
L. 86
- flute
- orchestra
22 December 1894
Paris, France
Georges Barrère (flute)
The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. It is one of Debussy's most famous works and is considered a turning point in the history of Western art music, as well as a masterpiece of Impressionist composition. Pierre Boulez considered the score to be the beginning of modern music, observing that "the flute of the faun brought new breath to the art of music."[3]
Debussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.
Literature[edit]
In Thomas Mann's The Magic Mountain it is implied that protagonist Hans Castorp listened to Debussy's piece on a gramophone. In the book, the Prélude is one of his favorite recordings, and leads him to daydream about a faun playing pipes in an oneiric landscape.
Transcription[edit]
Claude Debussy himself transcribed the piece for performance on two pianos in 1895.
Other transcriptions include: the arrangement of Maurice Ravel for piano four hands, the flute and piano version of Gustave Samazeuilh, the arrangement for Pierrot ensemble (flute, clarinet, violin, cello and piano) by Tim Mulleman,[11] a transcription for flute, clarinet and piano by Michael Webster, and an arrangement for the instruments of Ravel's Introduction and Allegro (flute, clarinet, harp and string quartet) with an additional double bass, by Graeme Steele Johnson. The Russian pianist Vyacheslav Gryaznov also transcribed it for solo piano.[12][13] Linos Piano Trio arranged the piece for piano trio and included it on their 2021 album "Stolen Music".[14]
Benno Sachs, a pupil of Arnold Schoenberg, reorchestrated the work for a chamber ensemble which included a piano and a harmonium, for Schoenberg's Society for Private Musical Performances, which took place on 27 October 1920.