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Maurice Ohana

Tombeau de Claude Debussy  (1962)  #30’
pour solistes et orchestre

Hommage (avec voix) ■ Soleils ■ Ballade de la Grande Guerre ■ Autres Soleils (avec voix) ■ Miroir endormi ■ Rose des Vents et de la Pluie ■ Envoi (avec voix)

D.R.
In concert
Couleurs passées - sons futurs - 03.29 8:

With the Tombeau de Claude Debussy, I again took up contact with the piano. And for the first time, I ventured to write a rather long cadenza. It was Henri Dutilleux who commissioned this work for the RTF [French Radio], on the occasion of the 100th anniversary of Claude Debussy’s birth. It is written starting from small fragments taken from Pelléas, the Études, En blanc and noir and other Debussy pieces that I know well, of course, which act a bit like yeast making the work “rise”. Here I used a cithara in thirds of tones, because in Debussy’s

music, especially in his whole-tone scale, for me there is implicitly a division of sound that is different from the chromatic scale. Here, I mean something other than the usual chromatic scale... which is false, since there are four commas on one side and five on the other.

I am interested in only a few of my works and by periods. My sole faithfulness goes, I think, to the Tombeau de Claude Debussy, especially the part entitled «Rose des vents et de la pluie», which is perhaps the most personal thing I’ve written and with very limited means.

Maurice Ohana