Debussy [Extended] performance programme
My name is Morten Vamplew, also known as Mortenissimo, and today’s programme is called ‘Debussy [Extended]’. My intention for this project was to expand on various elements from Debussy’s solo piano works, creating new sections and passages that seamlessly blend in with the original material.
What stands out to me about Debussy’s music is its impressionistic and dreamlike qualities. I’m always drawn to the way the composer’s melodies and chords interact, as well as the intricacies of the harmonic layers throughout. The way Debussy constructs his harmonies often allows secondary melodies to emerge beneath the primary one, which adds a further level of depth to the piece that I can truly respect.
The idea for Debussy [Extended] came about when I was in New York last year. I was in the Steinway piano shop, where I sat down and played Prelude from Debussy’s Suite Bergamasque, with an extended and improvised intro, which was spontaneous. The ideas just continued from there. I went on to look at more of my favourite solo piano pieces by the French composer, with the intention of extending them via new sections.
During the composition process, my ongoing goal was to further explore the elements that I love so much about Debussy’s pieces, including certain melodies or chord arrangements that I feel had real potential to be expanded on. My hope is that my extended sections serve to highlight the excellent musical features and qualities that make Debussy such a remarkable composer, enhancing what I believe is beautiful about the original work rather than introducing a new style.
This is Debussy as you’ve never heard it before.
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1. "Arabesque No. 1" [Extended]
I chose Arabesque No. 1 as the opening piece because I believe it nicely sets the tone for the rest of the programme, offering a suitable variety of tempos and moods. I've explored the range of faster and slower sections that the piece has to offer, and this has led to a mix of extension styles. The original work's dissonant harmonies are something I’ve also always appreciated, and I wanted to emphasise and expand upon this in my extensions. For me, the structure of Arabesque No. 1 has a distinct narrative quality, and it sounds like a story unfolding. In extending the piece, my goal was to enhance this aspect, creating notable contrasts between each new section as the music progresses.
2. "Clair de Lune" from Suite Bergamasque [Extended]
Clair de Lune was the most challenging piece for me to extend, given how beloved it is. During the composition process, I wanted to preserve the beauty and character of the original work that so many people enjoy. My goal was to remain respectful of Debussy’s vision, ensuring that my additions did not step too far away from the wonderful atmosphere he created. Clair de Lune [Extended] is double the length of the original piece. Most of these new sections occur within the slower sections, which are my personal favourites, allowing me to further explore the emotional depth and reflective nature of the music.
3. "Reverie" [Reimagined]
Unlike the other pieces in this programme, Reverie has not been extended, but rather reimagined. For this version, I focused on my favourite sections and harmonies from the original work and used them as a basis to create new musical passages. A key feature of this reimagined piece is the absence of rhythm in many places, where the silence between ideas plays a role in creating the atmosphere. This lack of tempo is intended to create a sense of reflection.
4. "Ballade" [Extended]
At approximately 20 minutes—more than double its original length--Ballade is the longest piece in the programme. I’ve always felt a special connection with the interplay of melodies and harmonies in this piece, and I wanted to emphasise the peaceful nature, and transform it into an extended session of reflection. Following the calming Reverie, Ballade is intended to feel like a natural continuation, with Reverie acting as a prologue to the expanded musical journey that takes place here. The first two pages of Ballade are among my favourite moments, so I extended these to allow these beautiful harmonies and motifs to develop some more. Serving as a calming contrast to the more energetic Mazurka that follows, Ballade offers many peaceful and gentle moments within the program.
5. "Mazurka" [Extended]
In contrast to the other pieces in the programme, Mazurka is the only work where I believe the harmonies do not evoke a sense of relaxation. Instead, there is an urgency in both the harmonies and rhythm that sets it apart. My extensions aim to add to this character while also introducing more sombre sections to create contrast. These more reflective moments are crafted to fit seamlessly with the harmonies of the original work, despite the sudden tempo changes.
6. "Prelude" from Suite Bergamasque [Extended]
I chose to conclude the recital with Prelude, as this piece was the starting point for the entire project. While playing the piece at the Steinway shop in New York, I created an extended introduction based on musical ideas I had previously explored, which I felt harmonically and melodically fit with the original piece. In this version of Prelude, there are also revisited sections from earlier works in the recital, which are meant to offer a sense of closure and reflection. These references were added to create a musical summary and help to tie the recital together as a cohesive journey.
What stands out to me about Debussy’s music is its impressionistic and dreamlike qualities. I’m always drawn to the way the composer’s melodies and chords interact, as well as the intricacies of the harmonic layers throughout. The way Debussy constructs his harmonies often allows secondary melodies to emerge beneath the primary one, which adds a further level of depth to the piece that I can truly respect.
The idea for Debussy [Extended] came about when I was in New York last year. I was in the Steinway piano shop, where I sat down and played Prelude from Debussy’s Suite Bergamasque, with an extended and improvised intro, which was spontaneous. The ideas just continued from there. I went on to look at more of my favourite solo piano pieces by the French composer, with the intention of extending them via new sections.
During the composition process, my ongoing goal was to further explore the elements that I love so much about Debussy’s pieces, including certain melodies or chord arrangements that I feel had real potential to be expanded on. My hope is that my extended sections serve to highlight the excellent musical features and qualities that make Debussy such a remarkable composer, enhancing what I believe is beautiful about the original work rather than introducing a new style.
This is Debussy as you’ve never heard it before.
--------------------------------------------------------------------------
1. "Arabesque No. 1" [Extended]
I chose Arabesque No. 1 as the opening piece because I believe it nicely sets the tone for the rest of the programme, offering a suitable variety of tempos and moods. I've explored the range of faster and slower sections that the piece has to offer, and this has led to a mix of extension styles. The original work's dissonant harmonies are something I’ve also always appreciated, and I wanted to emphasise and expand upon this in my extensions. For me, the structure of Arabesque No. 1 has a distinct narrative quality, and it sounds like a story unfolding. In extending the piece, my goal was to enhance this aspect, creating notable contrasts between each new section as the music progresses.
2. "Clair de Lune" from Suite Bergamasque [Extended]
Clair de Lune was the most challenging piece for me to extend, given how beloved it is. During the composition process, I wanted to preserve the beauty and character of the original work that so many people enjoy. My goal was to remain respectful of Debussy’s vision, ensuring that my additions did not step too far away from the wonderful atmosphere he created. Clair de Lune [Extended] is double the length of the original piece. Most of these new sections occur within the slower sections, which are my personal favourites, allowing me to further explore the emotional depth and reflective nature of the music.
3. "Reverie" [Reimagined]
Unlike the other pieces in this programme, Reverie has not been extended, but rather reimagined. For this version, I focused on my favourite sections and harmonies from the original work and used them as a basis to create new musical passages. A key feature of this reimagined piece is the absence of rhythm in many places, where the silence between ideas plays a role in creating the atmosphere. This lack of tempo is intended to create a sense of reflection.
4. "Ballade" [Extended]
At approximately 20 minutes—more than double its original length--Ballade is the longest piece in the programme. I’ve always felt a special connection with the interplay of melodies and harmonies in this piece, and I wanted to emphasise the peaceful nature, and transform it into an extended session of reflection. Following the calming Reverie, Ballade is intended to feel like a natural continuation, with Reverie acting as a prologue to the expanded musical journey that takes place here. The first two pages of Ballade are among my favourite moments, so I extended these to allow these beautiful harmonies and motifs to develop some more. Serving as a calming contrast to the more energetic Mazurka that follows, Ballade offers many peaceful and gentle moments within the program.
5. "Mazurka" [Extended]
In contrast to the other pieces in the programme, Mazurka is the only work where I believe the harmonies do not evoke a sense of relaxation. Instead, there is an urgency in both the harmonies and rhythm that sets it apart. My extensions aim to add to this character while also introducing more sombre sections to create contrast. These more reflective moments are crafted to fit seamlessly with the harmonies of the original work, despite the sudden tempo changes.
6. "Prelude" from Suite Bergamasque [Extended]
I chose to conclude the recital with Prelude, as this piece was the starting point for the entire project. While playing the piece at the Steinway shop in New York, I created an extended introduction based on musical ideas I had previously explored, which I felt harmonically and melodically fit with the original piece. In this version of Prelude, there are also revisited sections from earlier works in the recital, which are meant to offer a sense of closure and reflection. These references were added to create a musical summary and help to tie the recital together as a cohesive journey.
