Cello Sonata - L. 135

The Cello Sonata (Sonate pour violoncelle et piano), L. 135, is a sonata for cello and piano by Claude Debussy. It was part of his project Six sonatas for various instruments to compose six sonatas for different instruments. It consists of three movements: Prologue, Sérénade and Finale. It was composed and published in 1915. After performances in London and Geneva in 1916, the sonata's official premiere in Paris was played in 1917 by Joseph Salmon and Debussy. It was the first chamber music work in his late style, and became one of the key works in the repertoire from the 20th century.

History and background

Debussy composed the cello sonata as the first in a project, Six sonatas for various instruments, to compose six sonatas for different instruments. It was prompted by a performance of the Septet by Saint-Saëns, inspiring Debussy to write chamber music again which he had neglected since his string quartet of 1893. Diagnosed with colorectal cancer in 1910, he had not composed at all. Debussy's publisher Durand encouraged the project, planned as an homage to 18th-century composers Couperin and Rameau. Throughout his career, he preferred the French keyboard music of the 18th century over German romanticism. Remaining in the French tradition was also a political statement during the World War.  He described himself as a French musician on the title pages of project pieces.

Debussy planned three movements, as in French traditional sonatas. He had written many works in three movements such as Pour le piano,  En blanc et noir, and Iberia.

Debussy composed the Cello Sonata as the first of the set within a few weeks in July at the Normandy seaside town of Pourville. He wrote to his publisher Durand on 5 August that he would send the manuscript of what he described as a sonata in "almost classical form in the best sense of the word". It was printed in December 1915.

Despite other information, the sonata was premiered in London's Aeolian Hall by cellist C. Warwick Evans and Ethel Hobday on 4 March 1916. It was played at the Casino Saint-Pierre in Geneva, performed by cellist Léonce Allard and Marie Panthès. It took until 24 March 1917 for the French premiere which was given in Paris by cellist Joseph Salmon and Debussy.

The cellist Louis Rosoor claimed in program notes that Debussy related the music to the character Pierrot of the commedia dell'arte, and wanted to name the sonata Pierrot Angry at the Moon. The cellist seems to have invented this, writing: "Pierrot wakes up with a start and shakes off his stupor. He rushes off to sing a serenade to his beloved [the moon] who, despite his supplications, remains unmoved. To comfort himself in his failure he sings a song of liberty." Debussy confirmed in a letter to Durand dated 16 October 1916 that the cellist had visited him the previous night, and seemed to have misunderstood him and the music.

Debussy dedicated the sonata, and actually the complete project, to his wife Emma, writing "Les Six Sonates pour divers instruments sont offertes en hommage à Emma-Claude Debussy (p.m.) Son mari Claude Debussy" (The six sonatas for various instruments are offered to honour Emma-Claude Debussy. Her husband.).  He completed only three of the six planned sonatas, a second for viola, flute and harp in October 1915, and the third, a violin sonata, in the winter of 1916–17.

In 2008 Bärenreiter published a critical edition of the sonata, edited by Regina Back. She used Debussy's sketches from a private collection for the first time, dealing with the balance of the instruments and attempting to clarify ambiguities in the autograph and the first edition, many of which, unfortunately, remain unresolvable.

The cello sonata became a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument.

Structure and music

Debussy structured the sonata in three movements:

1. Prologue: Lent, sostenuto e molto risoluto

   The first movement, Prologue, is in common time and marked (in Italian) as slow, sustained and very determined. It opens in the style of a French overture. A second motif is pentatonic. A middle section varies both ideas, and contains a cello cadenza. The movement ends in a "murmur" in D major.

2. Sérénade: Modérément animé

   The second movement is a serenade in common time and marked (in French) as moderately animated. It is structured in a modified bar form, like a song. The music has been described as almost improvisational and jazzy. It is full of chromaticism, and has been described as "ironic and voluptuous in character" and "capricious and choppy in speech", with Spanish elements.  The first section consists of three motifs, with cello music reminiscent of a guitar. Its varied repetition uses flexible tempos. A contrasting section, marked Vivace (lively) in 3/8 time, uses extended cello techniques such as flautendo and flutter.  It is followed by a shortened repeat of the varied section, with the music disintegrating, leading to the finale.

3. Finale: Animé, léger et nerveux

   The third movement is in 2/4 time, marked (in French) as lively and nervous. It is in a modified rondo form. The refrain has been described as "frankly attacking". The first couplet is in Spanish style. After a modified refrain, a second couplet uses an element from the refrain in a slower tempo and marked molto rubato con morbidezza. The third version of the refrain leads to a coda marked appassionato ed animando (passionate and animating). The work closes with abrupt chords.

The final two movements are joined attacca.  Instead of using sonata form, Debussy followed the models of eighteenth-century mono-thematic sonatas. He was especially influenced by the music of François Couperin

Read more: https://en.wikipedia.org/wiki/Cello_Sonata_(Debussy)