Claude Debussy

Though ostensibly children's pieces, the miniatures that make up Children's Corner are not meant for children to play; rather they are meant to evoke the mood and essence of childhood, and the fantasies of youth. The titles, all of them in English, reflect not only the rampant anglophilia in Paris at the time of composition (and Debussy's own affection for England), but also Chou-Chou's relationship with her English nanny, who helped to choose them. The set, as a whole, captures the particular charm of Debussy's piano music, in spirit if not in style. It possesses great humor and lightness, real beauty, and deceptive technical difficulties.

The first movement, "Doctor Gradus ad Parnassum," is a light-hearted reference to Muzio Clementi's well-known piano exercises, Gradus ad Parnassum, published in 1817. It parodies a child performing these exercises, initially tearing through the bright, fast passages and eventually becoming distracted, bored, and finally slamming down the final cadence with relief. This movement looks forward to Debussy's later Études, in which he lampoons the five-finger exercises of Carl Czerny.

The Children's Corner suite is certainly not characteristic of Debussy's ephemeral style -- which by now had fully developed impressionistic qualities -- however, it is a delightful work, and it showcases Debussy's ability to create unique tonal colors.

Although this piece was originally written for Piano, I Transcribed it for Concert (Pedal) Harp.