Claude Debussy
Ballade
In autumn 1891 Debussy’s early piano piece, Ballade slave, was published by Choudens. When he had it re-engraved by Fromont in a slightly revised form in 1903, he deleted the word slave. Thus the title pointed more markedly to the work’s narrative character. Yet one can detect a certain Russian influence, stemming from the time he spent with Nadeshda von Meck – Debussy was at times her house pianist. Even echoes of Balakirev can be heard. The occasionally unconventional tonal approach already heralds the Debussy of the important cycle Pour le Piano, published in 1901.
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.
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.
Hans-Martin Theopold (Fingering)
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Further editions of this title
Further editions of this title
