The piece is 39 measures long and takes approximately two and a half minutes to play. The piece, named after the eponymous poem by Leconte de Lisle , is known for its musical simplicity, a divergence from Debussy's style at the time. Completed in January , it was published three months later and premiered in June of that same year. The prelude is one of Debussy's most recorded pieces, both in its original version and in subsequent various arrangements. Briscoe in the music journal 19th-Century Music. On the lucerne midst flowers in bloom, Who sings praises to morning?

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Although it was written for solo piano, different arrangements abound. The first version I heard, actually, was Joshua Bell on violin with orchestral accompaniment. Best of all, once the holidays had passed, the Christmas CDs shelved for the year, Mr.

Or is that just me? Tell me some of you do the same. It always sounds fresh, nuanced, and ephemeral. This arrangement, for five cellos, is just stunning, fascinating to watch and listen. Such a rich sound, from cellos alone. Who knew?! Ne dis pas non, fille cruelle! Ne dis pas oui! Sitting amidst the alfalfa in flower, Who sings in the cool morning hour?

It is the girl with the flaxen hair, The beauty with cherry lips so fair. Love, in the summer sun so bright, Sang with the lark for sheer delight. Your mouth has colors so divine, It tempts a kiss, o, were it mine!

Do not say no, o cruel girl! Farewell to deer, farewell to hare! And to red partridges! I shall dare a kiss of your crimson lips to steal, your flaxen locks to caress and feel! Which one is YOUR favorite? Will you help us remain a refreshing oasis in the increasingly contentious arena of modern discourse?

All comments are moderated and must be civil, concise, and constructive to the conversation. Comments that are critical of an essay may be approved, but comments containing ad hominem criticism of the author will not be published.

Also, comments containing web links or block quotations are unlikely to be approved. Keep in mind that essays represent the opinions of the authors and do not necessarily reflect the views of The Imaginative Conservative or its editor or publisher. By any other name, and perhaps I would not have replied… But, Terez Rose alone invites a response … And, it is rare that I respond to anything — But, most of what I read invites considerable reflection.

Not certain about which one is my favorite… Especially since my depth of knowledge in this arena is shallow…. Definitely enjoyed your presentation — obviously since I am responding. Now, from my gut … thanks, all three were impressive — Not sure why… Primacy and recency aside — I think the final version — the piano was my favorite….

Thanks for the essay and insights… And, for an enjoyable pause in my day… Steve. Save my name, email, and website in this browser for the next time I comment. Previous Next. Now for the poem. English translation follows below. And now, the English version. Leave a Comment. About the Author: Terez Rose. Terez Rose is a ballet and classical music critic, who blogs regularly on her site, The Classical Girl.

Rose is also the author of Off Balance and Outside the Limelight. Related Posts. June 4th, 0 Comments. June 3rd, 1 Comment. June 1st, 1 Comment. May 31st, 1 Comment. May 30th, 4 Comments. One Comment. Stephen Feb 14, at pm - Reply.

Not certain about which one is my favorite… Especially since my depth of knowledge in this arena is shallow… Definitely enjoyed your presentation — obviously since I am responding. Leave A Comment Cancel reply Comment.


Debussy’s “Girl With the Flaxen Hair”

Despite its apparent simplicity, this short bar piece is actually deceptively difficult to bring off. My enhanced study edition aims to give practical solutions to the numerous problems in pedalling the work poses, together with fingerings and exercises that will make some of the more awkward passages much easier to manage. The study score contains comprehensive footnotes with text and musical examples; there are also short video clips you can view by scanning the QR codes with your phone as you practise. He uses conventional diatonic harmony blended in with pentatonic scales, modal cadences as well as parallel chord movement. As in all the preludes, the title comes at the end of the piece, in brackets. It is as though Debussy wanted the listener to form their own impressions of the music first — unencumbered by any preconceptions. French music of this period requires a style of playing that is in general much cooler and more objective than Germanic music, for example.


The Girl with the Flaxen Hair


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