德彪西 - 《大海》
Debussy - La Mer (3), symphonic sketches for orchestra, L. 109
交响音画《大海》，作于1905年三月，初演于1905年十月。本曲为德彪西最大的一部交响音乐作品，由三个不同内容的乐章组成，但每个乐章之间又有内在的联系，集中起来构成一部完整的作品。它表现了"大海"的景色及其富有动态的性格，并通过整个乐队的不同音区，极为强烈地表现出"大海"中各种画面的色彩。乐曲在时间和空间上给人以完整的"海"的印象和对海的幻想。新颖的和声、短小的旋律、丰富的音色、自由的发展，这些印象派的手法，都生动地刻画出了一幅幅大海的生动画面。
全曲分为三大部分：
一、《海上从黎明到午后》 这一部分顺序描写了：大海的潮水声；夜幕缓慢地揭开，一丝光亮映照在海面上；一轮红日渐渐升起，天空由紫色变为了青色，逐渐地增加了光辉，一幅开阔的大海黎明景色被生动地描绘出来。从大海在黎明时的安详开头，由一个描述海妖的简单双音开始展开部，其中多天空与云彩、阳光在海上千变万化的光影的描述。近结束时，有一个平静的众赞歌乐句。
二、《浪花嬉戏》 音乐生动地描绘了白色的浪花拍击海岸时的情景。表现海的戏谑的盛怒中，水花涌现出的各种色彩。导入部描写了可爱的小波浪来回动荡的音响。在音乐的继续发展中，英国管奏出可爱的第一个主要动机，给人以幽闲的感觉。
三、《风和海的对话》似乎暴风雨将至，但又一切猝然沉寂。只听到远处而来，越来越强的海妖之歌，最后众赞歌在欢腾的高潮中重现。这一部分开始时，定音鼓的震音刻画出远方激动、飘浮着的雷声。之后，音乐描写了海风吹到海面，引起阵阵骚乱的潮声，犹如风和海的对话。这部作品不仅描绘出了一幅引人入胜的大海波澜壮阔的景象，同时也表现出作者对大自然景物的歌颂和赞美。
巴托克认为，“德彪西在《大海》中，构思出一套新的发展方式，其呈示和发展的观念共同存在于不断涌出之中。这种涌出使作品无须乞灵于预先设定的任何形式，只凭借它本身的力量向前推进。”巴托克认为，《从黎明到中午的大海》有一个诸动机依次出现，成为无从把握的半连的导入部，形成乐章的基本要素。不同寻常的调性，形成相互依存的调性关系，赋格式主题形成多重要素组合的“混合型调式”，像是表现大海呼吸的节奏。《浪的嬉戏》中，“就像是澎湃的波浪卷起的形态，其音乐时间几乎完全无法捕捉。它借不断的轮流来延续，看似要溃解，消失，不断又再度涌现。”《风与浪的对话》以引进分化的手法，表现两种力的关系。“明示出构造上的意义”。
(资料来自网络)
La Mer comprises three distinct movements: "De l'aube à midi sur la mer" (From Dawn to Noon on the Sea), "Jeux de vagues" (The Play of the Waves), and "Dialogue du vent et de la mer" (Dialogue of the Wind and the Sea). "De l'aube à midi sur la mer" unfolds in 6/8 following a Trés lent (very slow) introduction. As in so much of the composer's mature music, it is not always possible to draw a clear distinction between thematic material and accompaniment and texture. Indeed, texture itself is often paramount in Debussy's music; what few glimpses of discreet melodies the movement affords (such as the glassy violin solo that arrives some sixty bars into the piece, or the brief horn gesture soon after the metric change to 6/8) are soon subsumed into the complex orchestral fabric. There are passages during which the rhythmic and metric scheme is obscured, perhaps intentionally so, by as many as six or seven different layers of simultaneous activity. The movement ends with one of the most striking of the composer's musical affirmations: In an enigmatic gesture, the final forte-fortissimo brass attack dies away to piano as the movement draws to a close.
The scoring of "Jeux de vagues" is, on the whole, more austere than that of the first movement. Frequent trills and bursts of rhythmic vitality vividly bring to life the movement's frolicsome, unpredictable subject matter, while the extremely quiet ending purposely fails to resolve any of the musical expectations set out in the preceding, more active sections. The scoring of this passage (solo flute and harp harmonics) recalls the identical orchestration as used by the composer at the end of Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun; 1894), Indeed, these parallel passages are quite similiar in dramatic purpose.
The final "Dialogue" is a tumultuous juxtaposition of an urgent, articulated rhythmic gesture -- first introduced pianissimo by the cellos and basses and ingeniously manipulated throughout the movement -- with a grandiose legato idea that many have likened to the melodies of César Franck (an important influence upon the young Debussy). A sustained forte-fortissimo brings this violent, elemental work to a powerful close. ~ All Music Guide
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