Nocturne for violin and orchestra, completed and orchestrated after the sketches of Debussy by Robert Orledge, Piano reduction

Edición de / Edited by: Orledge, Robert

the third combines all these instruments?. He also informed Ysaÿe, perhaps with Whistler?s Nocturnes in mind, that they were to be like ?a study in grey in painting?. Debussy only abandoned this project in November 1896 after Ysaÿe told him he would not be able to première the Nocturnes in Brussels ?for financial reasons?. My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the ?twilight? theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy?s themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L?Après-midi d?un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy?s ?twilight? themes together in a new perspective.