Written by Anna Vorhes

Born
August 22, 1862, in St.-Germain-en-laye, France

Died
March 25, 1918, in Paris

Instrumentation
four flute (three and four doubling piccolo), three oboes (doubling English horn), three clarinets, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, and other percussion, two harps, celeste, and strings

Duration
34 minutes

Composed
Ibéria is the middle movement of a larger Debussy work entitled Images pour Orchestra.  The work was started in 1905 and finished for the premiere in 1910.

World Premiere
February 20, 1910, Orchestre Colonne at the Châtelet Theater in Paris

Something interesting to listen for
One of Debussy's strengths as a composer is using the instruments of the orchestra to paint an intriguing picture.  In this composition he requires many section musicians to work independently in a different way than they would expect.  While wind players are one to a part and often the first and second players in a section play very independently from each other, string players are less likely to be as independent.  In this work at one point, Debussy calls for six solo cellists plus a seventh part with the remaining cellists.  There is another section where the four orchestra string sections are asked to present fourteen different parts.  In creating the atmosphere of Spain, Debussy explores complex rhythms.  The bassoon plays in duple meter phrases against the rest of the winds in triple meter.  Listen also for themes to return.  The first movement includes a short march which will return in the second movement, although the movements are completely separate in character.  Debussy uses the orchestra as a beautiful paintbox capable of numerous subtle colors and unexpected combinations.

Program Notes

Have you ever gone to an event in an unfamiliar place and felt like you understood that place and could live there in the future? That was Claude Debussy's reaction to Spain.  He was invited to attend a bull fight in San Sebastian, about three miles over the Spanish border with France.  He was overwhelmed with sensations.  He talked about Spain with his artistic friends, including Manuel de Falla.  He thought about Spain.  He read about Spain.  And he created this lovely picture built on his understanding of the country.

Ibéria is the middle movement of a larger work, Images for Orchestra.  It is often programmed as a stand alone work, which it does well.   Within this movement there are three sections that can also be thought of as movements.

The first movement is Par les rues et par les chemins ("In the Streets and Byways").  Listening to the many layers of sound and many musical ideas, one can imagine coming into a town all headed to a huge celebration.  Winds and castanets provide a rhythmic beginning that evokes flamenco dance.  Two clarinets enter presenting the main there of the movement.  As befits a town getting ready for a mjor event, there are many small musical experiences.  About three minutes into the work there will be a fanfare and a short march.  Listen carefully to cath it! It will return later in the work.  As the people move into the bull ring, the town becomes quiet and sleepy and nothing is going to happen during the bullfight.  The percussion have the last quiet word.

Les parfums de la nuit ("Perfumes of the Night") is the second movement.  Here Debussy offers the idea that the sounds should evoke what you smell when you are in a warm summer night surrounded by oleander, sweet chestnut, wild roses, and thyme.  The movement slowly builds to a climax by using a syncopated rhythm and increasing intensity.  Following the climax , the main melody of the first movement returns in the winds and muted trumpet.

The third movement, Le matin d'un jour de fete ("The Morning of a Festival Day"), includes many things occurring at the same time, just as opening a Festival might include.  Think of going to a Renaissance Festival at the opening canon, perhaps.  There are so many things to hear that your ears get overloaded.  You don't know what to listen to first, but it all works together to make a magical treat for your ears.  Unlike the clear and clean phrasing of Mozart or Beethoven, here different melodies overlap and add to the excitement.  This is the kind of musical event that makes you feel as if the composer is inviting you into a picture, not necessarily taking you on a predictable journey.

Does Debussy capture the essence of Spanish music? Orrin Howard writing for the LA Philharmonic, offers this evaluation:

"But no less an authority than the great Spanish composer Manuel de Falla attested to Debussy's genuine embrace of the country's distinct character, saying of Ibéria: "The echoes from the villages, a kind of sevillana - the generic theme of the work - which seems to float in a clear atmosphere of scintillating light; the intoxicating spell of Andalusian nights, the festive gaiety of a people dancing to the joyous strains of a band of guitars and bandurrias...all this whirls in the air, approaches and recedes, and our imagination is continually kept awake and dazzled by the power of an intensely expressive and richly varied music."  Falla also thought that Debussy used an ideal approach in composing Ibéria,  using merely the fundamental elements of popular music instead of employing authentic folk songs."