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Claude Debussy (1862-1918) Prélude à l’après-midi d’un faune L. 86
London Symphony Orchestra
Conductor: Pierre Monteux
Recorded in 1961, at London
New mastering in 2024 by AB for https://classicalmusicreference.com/
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In Roman mythology, fauns correspond to the satyrs of Greek mythology — half-man, half-goat creatures, often depicted playing a flute, much like the god Pan. It is therefore to the flute that Debussy entrusts the *faun theme*: played alone, it opens the *Prélude*. The theme then reappears throughout the work as a recurring thread. Just as the faun evolves through his thoughts, actions, and dreams over the course of Mallarmé’s poem, the theme itself undergoes transformation, while the orchestra creates around it a succession of settings and sensations, varied yet consistently dreamlike in atmosphere. Debussy follows “the ascending movement of the poem,” and the *Prélude* gradually gains momentum until its central section. The string instruments are largely employed in the background, except during this central passage, where the full orchestra merges in powerful surges while retaining remarkably fluid lines. The third and final section, moving in the opposite direction to the first, gradually descends and strips itself bare until the final, scattered notes.
In this work, Debussy employs techniques that create a new perception of the passage of time in music: no emphatic pulse, no clearly marked rhythm, and delicate harmonies that do not conform to the conventions of Classical and Romantic composers. He makes masterful use of instrumental timbres, transforming his music into poetry — a true sonic painting.
In music, a prelude is a piece that introduces a larger work. Johann Sebastian Bach wrote many preludes at the beginning of the eighteenth century, in his suites and sonatas for solo instruments, or paired with fugues. Later, in the nineteenth century, Wagner replaced the traditional operatic overture with preludes. Debussy’s original intention was to compose a triptych — *Prélude*, *Interlude*, and *Paraphrase finale pour l’Après-midi d’un faune* — before ultimately settling on the *Prélude* alone. Yet for Debussy, as for Frédéric Chopin before him, the prelude had become an independent instrumental work, often brief, and one they both particularly cherished for the freedom of form it allowed.
*Prélude à l’après-midi d’un faune* was first performed on December 22, 1894, at the Société Nationale de Musique in Paris. That evening, the audience was captivated and enchanted — what a triumph for the flute. Debussy loved the sound of the instrument; through it, he could immerse listeners in a magical, fairy-like atmosphere. Debussy himself wrote: “The music of this *Prélude* is a very free illustration of Stéphane Mallarmé’s beautiful poem. It in no way claims to be a synthesis of it. Rather, it presents a succession of settings through which the desires and dreams of a faun move in the heat of this afternoon. Then, weary of pursuing the fearful flight of nymphs and naiads, he abandons himself to the intoxicating sunlight, filled at last with dreams realized, with total possession within universal nature.”
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