General Overview

Unlike the First Book, which was written rapidly in a mere two months, the Second Book was steadily developed between 1910 and 1913. Factors contributing to the longer completion time include Debussy's work on major compositions during the same period, such as Le Martyre de Saint Sébastien (1911) and the ballet Jeux (1912-13). Furthermore, considering Debussy's motto of "always aiming higher" [1], it is plausible that he sought to develop a new style distinct from that of the First Book. Indeed, the Second Book features notational experiments, actively incorporating three-stave notation, and an influence from Stravinsky's contemporary ballet music has also been noted. While a stylistic shift is evident between the two books, Debussy also conceived his own collection of Preludes as a coherent whole, similar to Chopin's 24 Preludes. The method of placing the title in parentheses at the end of each piece was carried over directly from the First Book. Moreover, as seen in the genesis of the 11th piece, "Alternating Thirds," Debussy was committed to completing the collection with 12 pieces, replacing unsatisfactory ideas with alternative compositions.

Commentary on Each Piece

No. 1: "Fog"

The origin of the title is unknown. The motif of parallel triads on white keys, ornamented by black-key arpeggios, appearing from the beginning of the piece (measures 1-2), depicts a vague, indistinct scene, like fog. In contrast, from measure 18, a syncopated rhythm with little movement appears (musical example). This piece is structured by the contrast between these two motifs. From measure 24, the opening motif reappears, and the density of the fog changes with variations in dynamics and tempo. From measure 38, the syncopated motif appears, and the two motifs interweave, gradually fading away.

【Musical Example: Syncopated Motif, measures 18-21】[1]

No. 2: "Dead Leaves"

It is said to have been inspired by Voix éparses – Adagio, Feuilles mortes, Croquis rêvés [2] (published 1883), an early poetry collection by the Marseilles-born poet and critic Gabriel Mourey (1865-1943). Debussy and Mourey had a close friendship; the solo flute piece Syrinx (composed 1913, published 1927) was written as incidental music for Mourey's verse drama Psyché. In the opening four measures, a motif of falling leaves, gradually descending at a leisurely tempo, appears. The tranquility consistently associated with this motif inevitably evokes a sense of melancholy. In contrast, the middle section, while weighty, gains a certain drive and dynamism with the addition of staccato notes and 32nd-note passages (measures 19-40) (musical example).

 【Musical Example】Measures 19-23

No. 3: "The Gate of the Vin"

The title derives from the name of the actual Wine Gate (Puerta del Vino) in the Alhambra Palace in Granada, Spain. Debussy is said to have received postcards depicting this gate from Spanish composers such as Manuel de Falla (1876-1946) and Ricardo Viñes (1875-1943), and was inspired by the contrast of light and shadow. This emphasis on "contrast" is evident in the opening tempo marking, "with an abrupt contrast of extreme violence and passionate sweetness" [3]. In the actual piece, this is demonstrated by contrasting musical characteristics strongly associated with the Spanish locale: the bass line of a perfect fifth (D-flat and A-flat) played to a habanera rhythm (musical example), and an Arabic-style melody evoking the palace's origins during the Islamic dynasty.

【Musical Example: Bass in Habanera Rhythm, measures 5-10】

No. 4: "The Fairies Are Exquisite Dancers"

For Christmas 1912, Debussy's daughter Chouchou received a beautifully bound edition of J. M. Barrie's (1860-1937) Peter Pan in Kensington Gardens from their friend Robert Godet. It contained illustrations by Arthur Rackham, and the idea for this piece was taken from one of these, depicting a fairy dancing on a spider's web. In contrast to the quick and light fairy dance created by the arpeggio motif in contrary motion in both hands (measures 1-5) and the trill motif in the upper voice (from measure 6), the middle section develops into a free and dynamic dance (measures 24-59) (musical example). The light dance returns at the end, concluding with its lingering resonance.

 【Musical Example】Beginning of the Dynamic Middle Section, measures 24-27

No. 5: "Heather"

Quietly, gently, and expressively. "Heather" generally refers to moorland in northern Europe, such as Britain or Germany, or to the small shrubs of the Erica genus (family Ericaceae) that grow there, but the exact origin of the title is unknown. The piece as a whole is structured by six motifs [4]. The simple motif 'a' (measures 1-5), beginning with a single melody in the right hand, develops into motif 'b' (measures 6-7), which builds tension through contrary motion in both hands, followed by motif 'c' (measures 8-14, beat 2), where the movement of a pitch peak and subsequent descent is repeated twice, and then motif 'd' (measures 14, beat 3 - 22), characterized by a undulating right-hand melody. Motif 'e' (measures 23-28) progresses quietly and sequentially under the indication "softly and lightly (doux et léger)," leading to motif 'f' (measures 29-32) in B-flat major, which is more lively and joyful. From measure 33 onwards, the previously introduced motifs appear in reverse order. Motif 'e' is used in measures 33-37, motif 'd' in measures 38-44 (beat 2), and motif 'a' in measures 44 (beat 3) - 51, recalling the beginning of the piece and concluding quietly. Therefore, the entire piece is constructed with a symmetrical structure, centered around motif 'f' in measures 29-32 (diagram).

【Diagram】 [2]

No. 6: "General Lavine – eccentric"

The title is said to be a play on the name of Edward Lavine, an American clown who performed at the Théâtre Marigny in Paris in 1910 and 1912. Following an introduction with a horn-like motif, the motif of the "cakewalk," a light two-beat American dance, is presented (measures 11-16) (musical example). These two motifs are combined as main motifs, contributing to the development of the piece. In the middle section, the horn motif is extended and used, taking on a somewhat more leisurely character (measures 46-69), but the sprightliness is regained from measure 70 with the reappearance of the cakewalk motif. After the cakewalk motif is gently presented in measure 94, it becomes lively again, and the piece concludes powerfully with the horn motif.

【Musical Example: Cakewalk Motif, measures 12-16】

No. 7: "The Terrace of the Audiences by Moonlight"

In December 1912, journalist René Puaux (1878-1937) contributed an article to Le Temps newspaper about the coronation of King George V as Emperor of India. It is said to have been inspired by the wording of that text. The chordal motif in the opening two measures, based on the French folk song Au clair de la lune, and the moonlight depicted by a descending melody illuminating the ground from the sky, pass through lively passages with dotted rhythms (measures 10-12), gradually expanding their range and increasing in intensity. This intensity peaks in measures 28-31, after which it recedes to a faint light.

 【Musical Example: Opening】

No. 8: "Ondine"

In 1912, Debussy, accompanied by his daughter Chouchou, visited an exhibition of illustrator Arthur Rackham in Paris and was inspired by illustrations for Friedrich de la Motte Fouqué's (1777-1843) fairy tale Undine. The capricious movements of the water spirit are expressed through four motifs of differing character. Following a 10-measure introduction, motif 'a' (measures 11-13) appears with sparkle and gentleness, leading to motif 'b' (measures 16-17), which ascends and descends sequentially, and then to motif 'c' (measures 18-19) in the alto voice, accompanied by leaping arpeggios. From the middle of the piece, motif 'd' (measures 30-31), characterized by repeated notes, appears and develops, interweaving with the previously introduced motifs 'b' and 'c'. The piece finally returns to motif 'a' and closes quietly, as if depicting the water spirit disappearing into the water (diagram).

【Diagram】

No. 9: "Hommage à S. Pickwick Esq. P.P.M.P.C."

The title is taken from Samuel Pickwick, the protagonist in Charles Dickens's (1812-1870) novel The Pickwick Papers. This businessman founded the Pickwick Club and became its Perpetual President, Member of the Club (P.P.M.P.C.). The opening quotes the British national anthem, God Save the King, imbuing it with a solemn atmosphere. However, this is a parody; guided by the tempo marking "aimable" (amiable) and augmented triads, a light dotted rhythm emerges, bringing the protagonist's cheerful and friendly character to the forefront.

 【Musical Example: Opening】

No. 10: "Canope"

"Canope" refers to a canopic jar, a vessel used in ancient Egypt to hold the organs of mummies, deriving its name from an ancient Egyptian city. Debussy is said to have kept such a jar on his desk. As suggested by its title, this piece consistently maintains a calm and melancholic atmosphere, accompanied by p and pp indications. Although short at 33 measures, the piece as a whole is structured by three motifs and two transitional passages [5]. Motif 'a' (measures 1-6), characterized by solemn parallel chords, recalls the middle section of "La Cathédrale engloutie" (Preludes, Book 1, No. 10) with its parallel chords. Motif 'b' (measures 7-10), on the other hand, presents a different texture from motif 'a' with its sustained bass note and chromatic melody. In motif 'c' (measures 11-15), parallel chords in the bass are added to the chromatic melody, and motifs 'a' and 'b' begin to merge. Following the first transitional passage (measures 16-19), where chords move across a wide range, motif 'b' reappears in measures 20-23. After the second transitional passage (measures 24-25), motif 'a' is recapitulated in measures 26-29, and the piece gently concludes with motif 'c' in measures 30-33 (diagram).

【Diagram】 [3]

No. 11: "Alternating Thirds"

In a letter to Durand dated January 7, 1913, Debussy stated that a piece inspired by "Toomai of the Elephants," a story from Rudyard Kipling's The Jungle Book, was not progressing, and that he would prepare an alternative piece. This alternative piece is believed to be "Alternating Thirds." Following an introduction, the main motif appears in measures 11-14, followed by a tremolo passage of third chords played by alternating hands. In the middle section, while the alternation of third chords is maintained, the character becomes sweet and graceful (measures 91-115) (musical example). In its requirement to draw diverse timbres from consistent passage work, it shares characteristics with the Études written in 1915.

 【Musical Example: Beginning of the Middle Section, measures 91-94】

No. 12: "Fireworks"

This piece depicts the Fête Nationale (Bastille Day) on July 14th. Debussy may have witnessed these fireworks in the summer of 1912. Above rapid, even triplet passages, chordal fireworks ascend, and the scene gradually approaches (measures 1-18). The main motif finally appears, weaving through tremolos and ascending/descending scales (measures 27-30). This motif is varied, unleashing a kaleidoscope of lights (measures 35-40, measures 41-56). In the middle section, leisurely, rubato-infused shimmering fireworks are depicted (measures 57-64), but with the return of the main motif from measure 65, sharp flashes of light reappear. This motif is further powerfully augmented, reaching its climax (measures 79-89), and the festival of sound, light, and color concludes with the national anthem La Marseillaise heard from afar (measures 90-98) (musical example).

【Musical Example: measures 90-94】

[1]  The scores used in this commentary are as follows.

Claude Debussy. 1913.  Préludes. Livre II, Paris: Durand et Cie, D. & F. 8697, accessed 15 December 2019, International Scores Music Library Project, http://conquest.imslp.info/files/imglnks/usimg/4/48/IMSLP252535-PMLP02396-Debussy,_Claude-Preludes_2e_Livre_Durand_8697_filter.pdf.

[2] This diagram is based on the following literature by Bourion (Bourion, Sylveline. 2011. Le style de Claude Debussy : duplication, répétition et dualité dans les stratégies de composition, Paris: Vrin, p. 436).

[3]  This diagram is based on the following literature by Bourion (Bourion, Sylveline. 2011. Le style de Claude Debussy : duplication, répétition et dualité dans les stratégies de composition, Paris: Vrin, p. 440).