Claude Debussy- ‘Le vent dans la plaine’ (1909-1910)

Le vent dans la plaine is taken from Debussy’s set of piano Preludes, which are comprised of 2 books, totalling up to 24 pieces. The form of this piece follows a fairly simple A-B-A-C-D-A structure, with each theme trading off contrasting textures, dynamics and harmonic functions, crafting a work that embodies minimalistic tendencies just as readily as it crashes into bold statements of pounding chords.

The first theme is a polyphonic textured arpeggiation of Bb and Cb, which is grouped in 6-tuplets over a 4/4 time signature. The treble maintains this pattern as the bass embellishes with grace notes (playing notes from Eb minor scale) articulating the accentuation of certain downbeats. The intervallic relationship between these 2 tones forms a cohesive structure for the entire piece, becoming more flexible as the piece progress, stretching into a major 2nd and then being reduced to a diminished 2nd, all while becoming centralized around different pitches as modulations occur.

The series of block chords that follow, serves to break the thread of interwoven pitches. Modulating to Bb minor and careening down in a series of 3rds, before a re-invisioned statement of the original theme occurs. The use of dynamics plays a vital role in emphasizing the attitudes towards these themes and ideas, in a fashion that doesn’t entirely pertain to the predictable contrast between chords and light arpeggiation, applying hairpins to long semi-quaver runs, giving it a fluid weaving in/out sensation that emphasizes varying spacial presence. Also applying such dynamics to create varying degrees of expression in the playing of chords.

Harmonically, the use of the whole-tone scale is probably the most notable and is very common in much of Debussy’s latter period work. The several modulations and key changes that occur, help to re-iterate the previously mentioned intervallic relationship between pitches, in different perspectives.

The contrast between minimal use of pitch and bold chord sequences, exemplifies Debussy’s ability to portray differing styles of writing and make it into a seamless transition of contrasting moods and attitudes toward sound. No wonder he hated being associated with the term ‘impressionism.’

Shannon Barnes