Use an imaginary story of Pierrot Lunaire –“Moon Dreamer” as performing interpretation ofDebussy Cello and Piano Sonata

• Main Authors: Chiang, Wan-Chin, 蔣宛瑾
• Other Authors: Lin, Jaw-Fuh
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/d9e9fp

博士 === 國立臺灣師範大學 === 音樂學系 === 104 === In a private letter, Debussy expressed that he relearned and discovered music in his late years. Debussy considered that the planned six sonatas would be more important than a lyrical drama. Existing literature shows that “Pierrot fâché avec la lune” is the original subtitle of this sonata and this has been widely accepted by most musicologists. In addition, at that time, the known French cellist, Louis Rosoor, released Pierrot-related sonata interpretations and claimed they are originally from Debussy himself. Debussy responded by writing two letters to his publisher, Durand, complaining about this incident. Does this mean that Debussy’s “Sonata for Cello and Piano” uses “Pierrot Lunaire” as the theme, much like “Prelude to the Afternoon of a Faun” draws inspiration from a poem? Would this make “Sonata for Cello and Piano” a type of “Program Music” with “Pierrot fâché avec la lune” as its title? With an individual perspective of performing interpretation, the author imagines that Debussy uses the 21 poems’ titles from Schoenberg’s “Pierrot Lunaire, Op.21” as the themes for each section. Transform this sonata’s rhythm, harmony, and timbre into concrete images. Turn the sound motives of each section into a series of backgrounds, actions and storylines of “Pierrot Lunaire”. Interpret this sonata as a complete story of the sad clown and name it “Moon Dreamer”. Use this creative work, “Moon Dreamer”, as the blueprint for performing interpretation. In this way, the performance of Debussy’s “Sonata for Cello and Piano” has become an imaginary display of “Moon Dreamer”, created by poetry, painting and music. This performing interpretation reevaluates the extraordinary historical value and musical achievements of this sonata. In 1912, Schoenberg used the German version of the 21 poems from “Pierrot Lunaire” as scripts and completed his famous music drama “Pierrot Lunaire, Op.21”. Coincidentally, three years later, in 1915, Debussy completed his “Sonata for Cello and Piano”. In the process of creating “Moon Dreamer”, the author unexpectedly found that the storylines of “Moon Dreamer” tightly interlock with “Sonata for Cello and Piano”. In the story, each poem’s development coincidentally match the sonata’s exceptionally well. Does this mean Debussy uses the French version of the 21 poems from “Pierrot Lunaire” as themes, and creates a brilliant sonata no less than Schoenberg’s music drama in historical value and musical achievement?