Claude Debussy
Rhapsody for Alto Saxophone and Orchestra
Debussy’s Rhapsody was commissioned by the wealthy amateur Elise Hall, who paid the composer a considerable sum in advance. Yet work on it was not easy; following his death all that existed was a finished orchestral sketch, a short score.
Debussy’s friend Jean Roger-Ducasse undertook versions for piano and orchestra based on the sole authentic source. Ever since its first performance in Paris in 1919,
both of these versions of the work have formed part of the saxophone’s core repertoire. Our study score contains the first transcription of the autograph in printed form. It is a valuable addition to our Urtext edition for practical music making (HN 989).
About the Composer
Claude Debussy
Most important French composer around 1900, whose music, primarily characterized by its sound, exhibits profound innovations. His oeuvre bears a close relationship to Symbolism.
| 1862 | Born in Saint-Germain-en-Laye on August 22. |
| 1872–84 | Studies at the Conservatoire de Paris. During this time, he travels with the family of Nadezhda von Meck to Switzerland, Italy, Vienna, and Russia, where he becomes acquainted with Russian and Gypsy music. |
| 1884 | Wins the Prix de Rome with his cantata “L’Enfant prodigue.” Thereafter resides in Rome until 1887. |
| 1887–89 | Songs, “Cinq Poèmes de Baudelaire.” |
| 1888/89 | Visit to the Bayreuth Festival; criticism of Wagner. |
| 1889 | Exposition universelle (World Exposition) in Paris, where he learns about East Asian music, which influences his style. |
| 1890 | Connection to Mallarmé and his circle. |
| 1891/1903 | Series of songs, “Fêtes galantes,” after Verlaine. |
| 1891–94 | Orchestral work “Prélude à l’après-midi d’un faune” (“Prelude to the Afternoon of a Faun”) with arabesque-like melodies. |
| 1897–99 | Nocturnes for orchestra and women’s voices. |
| 1901 | Beginning of his activity as a music critic. |
| 1902 | Performance of the opera “Pelléas et Mélisande” after the Symbolist drama by Maeterlinck, which despite criticism spells his breakthrough. |
| 1903–05 | Orchestral work “La Mer” uses symphonic principles and “Impressionist” tonal language. |
| 1905–07 | Books one and two of “Images” for piano. |
| 1906–08 | “Children’s Corner,” children’s pieces for piano. |
| 1909–10/11–1913 | Books one and two of the “Préludes” for piano; the programmatic titles of these character pieces, some of which are quite esoteric, are listed at the end of each one. |
| 1913 | Songs “Trois poèmes de Stéphane Mallarmé.” |
| 1915–17 | Chamber music sonatas, drawing from the French tradition of the eighteenth century. |
| 1918 | Death in Paris on March 25. |
About the Authors
Ernst-Günter Heinemann (Editor)
Dr. Ernst-Günter Heinemann, born in 1945 in Bad Marienberg (Westerwald), completed his schooling in Gießen and read musicology, philosophy and German in Marburg and Frankfurt/Main and also for some time Protestant church music. He did his doctorate on “Franz Liszts geistliche Musik. Zum Konflikt von Kunst und Engagement”.
From 1978–2010 Heinemann worked as an editor at G. Henle Publishers (in 1978 in Duisburg, from 1979 onwards in Munich). He edited a great many Urtext editions for the publishing house, including “Das Wohltemperierte Klavier”, Volume 1 by Bach and all of Debussy’s piano works. In addition, he wrote essays on Debussy, Grieg, Liszt, Mendelssohn and questions concerning general editing, as well as giving seminars on editorial practice for musicology students in Munich.
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