Tempo interpretation of Debussy’s Images Book 2

Many amateurs or professional performers usually encounter a major challenge in determining an appropriate tempo of the twentieth-century music. Despite the tempo marking is usually uniform, most pianists have different interpretation results from the sources often mention the desirability of non-literal implementation. The objective of the study was to investigate the ambiguity of tempo in Debussy’s Images Book 2 in the hope to obtain a more faithful interpretation in performance. This study made use of qualitative methods research design. Despite Debussy’s work has been widely discussed in several published readings, these materials are rather controversial. In addition, they are more about nuances of harmony than discussing the tempo or rhythm of Debussy’s work. Through thorough analysis, this study provides pianists with insights into problem-solving techniques based on analysis by examining passages that help analyse specific performance problems. It is important to analyse this not only because the ambiguity of tempo in Debussy’s era, but also to understand the meaning of description tempo (carefully marked by Debussy) based on his characteristic, background and its influence on later composers. A qualitative approach was used in this research. Data collection was by score analysis, examining compact disc (CD recordings) and live performance recordings, as well as reviewing recorded interviews in obtaining the result of this study. Nine representative pianists from various schools and traditions for each CD recordings, live performance recordings and recorded interviews videos were examined and reviewed. The pianists in the recordings are chosen based on different preparation, experience, age, gender and national origin. Thereafter, I took notes the beats per minute (BPM) of each performance, after which I analysed how the variance of tempo affected the technique of playing and how the choice of tempo reflected what the performers intended to communicate to the audiences. The findings showed that there was a large variance especially the second movement Et la lune descend sur le temple qui fut. In general, it was found that the pianists did not strictly adhere to the tempo marking as suggested by Debussy, they seem to be faithful to their emotion and expressiveness in the playing, which showed a sense of liberty. It is perceived that even though metronome marking and description of tempo change were given, tempo rubato, clarity, expression, phrasing, dynamics, characterization and moods, rhythm/technical difficulties, notation and specific performance directions and strong individuality have a decisive influence on tempo. As a conclusion, one is suggested to try to get an alert tempo that is close to Debussy’s tempo markings, or at least close in spirit to his expressive performance directions, with slight liberties.

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