We thought it might be useful for players studying the piece, to link at least one of the Preludes by Claude Debussy to every movement of Reflections on the Nature of Water by Jacob Druckman. This will give a clear musical idea on the musical ‘mood’ of each of the movements, and will help to diversify the musical language of the performer in order to create a more versatile and richer performance of the piece in terms of musicality and style awareness.
Next to this one-on-one link, in annex, we added a list of similarities between Druckman’s Reflections on the Nature of Water and Debussy’s Preludes below. Please feel invited to use this list as an extra musical reference and input for your interpretation of the piece.
There are wonderful recordings of Debussy’s Preludes on all streaming platforms. We took as a reference for this analysis for example the recording of Daniel Barenboim with the accompanying videos and scores. An interesting and inspirational documentary about his work on Debussy is available on YouTube.
General considerations considering similarities between Debussy’s Preludes and Druckman’s Reflections on the Nature of Water:
The description of the musical mood is very figurative. Every piece has clear musical directions at the beginning and in the course of the pieces. They describe the musical mood in a quite detailed manner.
Harmony: both composers use 7-chords, stacked fifths, quintal and quartal harmony, poly-chords, poly-harmonies, new scales, parallel progression and harmony in a modal, non-classical way.
Similar material is harmonized in different ways or presented slightly different when it reoccurs.
Formally, both composers often re-expose the initial theme of every movement more than one time.
Rhythmically, both composers apply polyphonic and polyrhythmic patterns
The writing is very idiomatic in both compositions: the musical text is technically challenging, but playable. Very often a left hand pattern is combined with a right hand melody.
Both composers use major second intervals quite often as melodic and harmonic material.
Similar material is transposed over different octaves.
The composers are looking for the extremes of the instrument: very often chords are spread over the entire range of the instruments, combining the highest with the lowest notes of the instrument.
La Terrace des audiences du Claire de Lune
Use of 7-chords, poly-chords and parallel chords
Use of new scales comparable to poly-chords written out in Druckman 1
Similar use of recurrent material, applied in a slightly different way
Use of polyphonic patterns
Use of different harmonization of one theme or similar material
Use of parallel progression
Use of re-exposition of a theme
Le Vent dans la Plaine
Use of idiomatic patterns in combination with melody
Use of parallel chords
Use of major second intervals
Transposition of similar material in different octaves
Use of loud jumping chords
Comparable material as Reflections 2 & 6 & 4
Des Pas sur la Neige
Use of major second intervals in combination with other musical material
Comparable material as Reflections 1 & 3
Danseuses de Delphes
Use of major second intervals
Use of parallel chord progressions
Use of 11 chords, constructed of consecutive thirds
Use of similar musical material in a slightly altered form or orchestration
Different harmonization of the same material
Combination of a left hand pattern with a independent melody in the right
“Gently Swelling” mood
La Cathédrale Engloutie`
Use of Parallel open chords without thirds
Comparable material as in Druckman 5
Use of extreme chord positioning
Use of fifth extensions
Use of seventh poly-chords
Use of seconds and parallel chords
Use of sus-chords and harmony extensions
Use of major second intervals
Use of idiomatic arpeggios
Brouillards
Use of poly-chords and poly-harmonies
Use of consecutive fifths harmonies
Pentatonic scales vs. diatonic scales
The rhythm of left and right hand can be compared to Druckman 6
Idiomatic writing
Extreme position of chords on the instrument
The melody is written in an ‘en dehors’ way
Comparable material as Druckman 1 & 2 & 6
Brouillards
Use of poly-chords and poly-harmonies
Use of consecutive fifths harmonies
Pentatonic scales vs. diatonic scales
The rhythm of left and right hand can be compared to Druckman 6
Idiomatic writing
Extreme position of chords on the instrument
The melody is written in an ‘en dehors’ way
Comparable material as Druckman 1 & 2 & 6