sara, mary, ondine
The combination of the carol Greensleeves, which I listened to this morning, and the sound of this Debussy piece, which I’ve been working on, have reminded me of how much I love these two movies.
I am thrilled about this piece. I think my practicing is driving the paraplegic downstairs nuts, because it often consists of me playing one grouping of highly dissonant and jarring notes after another, over and over, but I’ve never been happier. The whole piece is one of contrasts: striking between dissonances and consonances, and thus causing each to highlight the other; between the linear action of the scales and the vertical building of chords, which is such a pleasure to feel translated from the written score to the muscles of the hand; of aural contrasts created by the frequent changing of time signatures. This is perhaps one of my favorite things about playing Debussy – the way that such mathematical regularity on the page can produce such a whimsical, interpretive sound for the ear. To me the whole piece sounds like the movement of different animals, and like running a finger along a string of crystals on a wire.
Here ’tis: Debussy Preludes Book 2, L 123 – Ondine