Debussy's Influence On Syrinx By Odyssey

Debussy is one of the world’s most valued composers due to his play with extended tonality; his pieces can transport the listener from a winter-stricken forest to a far away land in Eastern Asia. Whether composing for piano or an entire orchestra, Debussy can bring to life any scene with his beautiful music. One such composition, Syrinx, was a major turning point in flute literature when written. Being the first major solo composition for flute since C.P.E. Bach, the piece greatly influenced how solo literature for flute was written in the 20th century. The piece, written as an incidental to an unfinished play by Mourey, is about the Greek God Pan’s pursuit in his love for Syrinx. When pursued by Pan, Syrinx pleads to the river nymphs for
Pan excitedly cuts down the reeds to make a flute, but soon comes to realize the reeds were his beloved. Bemoaning the loss of his love, Pan weeps. This piece can be analyzed in two ways; one way, based off of Debussy’s tempo and style instructions for the player, and another way in which the player views the timeline of the story. The first part of the piece, Trés modéré, contains measures 1-8. The key signature and opening gesture suggest Bb minor, a key traditionally known for its dark and mysterious demeanor. This key perfectly captures the haunting sound of the hollow reeds Syrinx is turned into. The opening phrase of the piece is a two measure phrase in which the theme is stated at a comfortable mezzo forte. Starting on Bb, the phrase seems to move downwards in a wilting motion until stopping at Db, almost as though the reeds are moaning in the wind. The scale, ornamented with 32nd notes, emphasizes Bb, Ab, and Gb. In the third measure, the theme is restated, leading to the fourth measure in which Debussy suggests an ominous and mysterious air by ornamenting an ascending chromatic scale from Bb to Db, which then reinstates the beginning of the scale’s ornamentation on the first half of measure five. The second half of measure
The gesture from measure 2 is expanded upon in measure 27, giving a new contour to the line that makes the listener truly aware of Pan’s heartbreak. The next measure is an exact restatement of measure 3, leading to measures 29-30, in which Debussy expands upon the original gesture. Voicing this an octave lower, Debussy then expands the rhythm, where the first six notes of the first measure are converted into 16th note triplets from 32nd notes. By spreading out these notes evenly, Debussy is once again able to connect the two tonal centers of the piece, Bb and Db. Debussy is also able to use every chromatic note ranging from E to B by extending the rhythm from 32nd notes to 16th notes. Not only can Debussy vary the contour by adding chromaticism, he also portrays the absolute devastation Pan suffers from once realizing his mistake. By adding in a breath mark between the two expanded gestures, Debussy makes it seem as though Pan is gasping for breath between his