Ruminating about Debussy

Imagine you had a whole orchestra at your fingertips on the piano. Many composers worked out short scores of their orchestral pieces on the piano, and some transcribed symphonic works into piano solos. This makes for a wonderful conversation on timbre. Debussy's orchestral works were enhanced by his signature use of woodwinds in the melodic line, invoking primordial times. I'm working on his own transcription of the prelude to "The Blessed Damsel" for my upcoming Valentine's concert, full of pianos and pianissimos. Having just heard the Cleveland Orchestra produce the most magical ppp's today, I can't wait to find more nuances in luminosity, energy, and muscle engagement! Watch the clip below to see how Debussy's orchestration decisions (setting lines in woodwinds, versus strings, versus brass) indicate where he wants changes in sound quality and shifts in effort. There are horizontal timbral differentiations between each voice, as well as vertical "harmonic color" shifts. Endless possibilities! It's a fascinating topic that I am eager to explore in this year's online piano workshop, "Orchestral Colors of the Piano".