Claude Debussy (1862-1918) introduced into 20th cent. music such elements as modality (with octaves, 4ths and 5ths in parallel motion), the whole-tone scale of the Far East, the pentatonic (5-note) scale, enriched chord structures, ambiguous keys and rhythmic structures, and glimmers and hints, i.e., impressions. The Prelude to the Afternoon of a Faun unfolds delicately ambiguous harmonies before luxuriantly climaxing in D flat (a favorite key) and then retreating into reminiscences of the languorous opening. Each section of Images depicts a different national landscape and temperament. Gigue is a typically French view of England: haunting melancholy relieved by bursts of grotesque jollity. Iberia evokes Spain. Its 1st mvmt, “In the streets and byways,” chants melodies resembling folksongs. Its 2nd mvmt, “The Perfumes of the Night,” evokes the yearning of a voluptuous southern night; the habanera rhythm leads to a passionate, erotic climax. Its 3rd mvmt, “The morning of the festival day,” take the festivities on a joyous course. Images’ 3rd mvmt, Dances of Spring, uses two folksongs to evoke a French Spring. Debussy composed Printemps (Spring) at age 24: “I wanted to express the slow, laborious birth of beings and things in nature, then mounting florescence, and finally a burst of joy at being reborn to a new life.” Almost all the main ideas are presented in the first 20 bars, and Debussy then uses Liszt’s techniques of thematic transformation to enchant the listener.

1. Prelude to the Afternoon of a Faun. (8:52)
2. Images pour orchestre. No. 1. Gigues (7:22)
3. Images pour orchestre. No. 2. Iberia, I. Par les rues et par les chemins (6:58)
4. Images pour orchestre. No. 2. Iberia, II. Les parfums de la nuit. (7:30)
5. Images pour orchestre. No. 2. Iberia, III. Le matin d’un jour de fète (4:24)
6. Images pour orchestre. No. 3. Rondes de printemps (7:44)
7. Printemps, Suite Symphonique. I. Très modéré (10:18)
8. Printemps, Suite Symphonique. II. Modéré (6:25)