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*Children's Corner*
Children's Corner
Piano music by Claude Debussy
	Excerpt from the last movement, Golliwogg's Cakewalk
Catalogue	L. 113
Composed	1906–1908
Dedication	Claude-Emma Debussy
Performed	18 December 1908
Published	1908
Movements	six

Children's Corner, L. 113, is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was first performed by Harold Bauer in Paris on 18 December that year. In 1911, an orchestration by André Caplet was premiered and subsequently published.

History

Debussy composed Children's Corner between 1906 and 1908. He dedicated the suite to his daughter, Claude-Emma (known as "Chou-Chou"),^[1] who was born on 30 October 1905 in Paris. She is described as a lively and friendly child who was adored by her father. She was three years old when he dedicated the suite to her in 1908.^[2] The dedication reads: "A ma chère petite Chouchou, avec les tendres excuses de son Père pour ce qui va suivre. C. D." (To my dear little Chouchou, with tender apologies from her father for what follows).^[3]

The suite was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on 18 December that year.^[1] In 1911, an orchestration of the work by Debussy's friend André Caplet received its premiere, and was subsequently published.

Structure

The suite is in six movements, each with an English-language title. This choice of language is most likely Debussy's nod towards Chou-Chou's English governess.^[1] The pieces are:^[3]

Doctor Gradus ad Parnassum
Jimbo's Lullaby
Serenade for the Doll
The Snow Is Dancing
The Little Shepherd
Golliwogg's Cakewalk

A typical performance of the suite lasts roughly 15 minutes.

1. Doctor Gradus ad Parnassum

Doctor Gradus ad Parnassum

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The title of the first movement alludes to sets of piano exercises of that name (Gradus ad Parnassum translates as "Steps to Parnassus"), several of which had been published in the eighteenth and nineteenth centuries, including one by the prolific publisher of piano exercises Carl Czerny, and Muzzio Clementi. The harshness and mechanicalism is supposed to play a joke at the excessive exercises of Czerny and Clementi. This piece is a rather ingenious study in finger independence with a twentieth-century vocabulary. In the middle, the pianist slows down and tries the material in other keys for exercise. Debussy's "Doctor Gradus Ad Parnassum" is of intermediate difficulty and requires the ability to play more quickly and wildly. The pianist gets more frantic toward the end and finishes the piece with a bang. Debussy told his publisher that the movement should be played "very early in the morning".^[3]

2. Jimbo's Lullaby

This work describes an elephant, Jumbo, who came from the French Sudan and lived briefly in the Jardin des plantes in Paris around the time of Debussy's birth. The misspelling "Jimbo" betrays the Parisian accent which often confuses the pronunciation of "um" and "un" with "im" and "in". It is a beautiful lullaby with some dark moments and whole-tone passages in the middle.

3. Serenade for the Doll

This piece, in triple meter, is marked Allegretto ma non troppo (moderately fast, but not too fast). Debussy notes that the entire piece should be played with the soft pedal. The piece's title—referring to a porcelain doll—alongside its delicacy, prominent featuring of bare fifths, the pentatonic scale, and parallel fourths, mark it as an example of chinoiserie.^[4]

4. The Snow Is Dancing

This piece can be considered quite difficult as it requires precise semi-detached playing in both hands with the melody between them. Again, there are darker moments in the bass near the middle. It portrays snow and muted objects seen through it.^{[citation needed]}

5. The Little Shepherd

"The Little Shepherd" depicts a shepherd with his flute. There are three solos and three commentaries following them. The first solo has a breath mark at the end. This piece has different modes in it and uses dissonances, which resolve into tonality.

6. Golliwogg's Cakewalk

Golliwog's Cake Walk

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${ #(set-global-staff-size 17) \new PianoStaff << \new Staff << \key ges \major \time 2/4 \partial 4. \new Voice \relative c' { \once \hide Score.MetronomeMark \once \hide Score.MetronomeMark\tempo 4 = 80 r8 \voiceOne a4( \tempo "Cédez" f'4.^\markup { \dynamic p \italic "avec une grande émotion" } e8) \tempo "a Tempo" r8 \once \hide Score.MetronomeMark \tempo 4 = 105 \acciaccatura{\slurUp d'} \once \stemDown <ces es>8-.[ \acciaccatura{\slurUp c} \once \stemDown <ces des>-. \acciaccatura{\slurUp d} \once \stemDown <ces es>-.] r8 \acciaccatura{\slurUp d} \once \stemDown <ces es>8-.[ \acciaccatura{\slurUp c} \once \stemDown <ces des>-. \acciaccatura{\slurUp d} \once \stemDown <ces es>-.] } \new Voice \relative c' { \voiceTwo s8 a4(~ a4. bes8 <ces es!>2) } >> \new Staff << \clef bass \key ges \major \time 2/4 \partial 4. \new Voice \relative c, { << { \voiceOne r8 r4 r2 r8 \stemDown <as'' ces f>-.[ <as ces f>8-. <as ces f>8-.] } \new Voice \relative c { \voiceTwo es,8([ f ges] a[ bes ces c] <as des>2)} >> r8 <as ces f>8-.[ <as ces f>8-. <as ces f>8-.] } >> >> }$

Four measures that quote the opening of Tristan und Isolde

At the time of its composition, Golliwoggs were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton ("golliwog" is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, reminiscent of the blackface minstrel shows of the time. The cakewalk was a dance or a strut, and the dancer with the most elaborate steps won a cake ("took the cake"). The piece is a ragtime with its syncopations and banjo-like effects. The dynamic range is quite large and very effective^{[citation needed]}.

During the piece, Debussy alludes satirically to Richard Wagner's opera Tristan und Isolde. The opening bars turn the famous half-diminished Tristan chord into a jaunty, syncopated arpeggio,^[5] while the middle 'B' section of this dance is interrupted on several occasions by the love-death leitmotif, marked avec une grande émotion (with great feeling). Each quotation is followed by banjo imitations.

Debussy composed one more piece in the same style a year later, "The Little Nigar", as part of a piano method.

Orchestrations and arrangements

French composer André Caplet orchestrated the entire suite in 1911.
Danish composer Hans Abrahamsen orchestrated the entire suite in 2015.^[6]
Scottish guitarist Paul Galbraith transcribed the entire suite for brahms guitar in 2006.
Leigh Howard Stevens transcribed five of the six movements for marimba.
Japanese composer Isao Tomita transcribed the fourth and sixth movements for Moog Synthesizer in 1974 (RCA CD RCD14587).

References

^ ^a ^b ^c Hinson 2007.
^ McKinley 1986, 249.
^ ^a ^b ^c Nichols, Roger. "Children's Corner, L. 113". Naxos Records. Retrieved 21 August 2018.
^ Scott, Derek B. (15 May 2003). From the Erotic to the Demonic: On Critical Musicology. New York: Oxford University Press. pp. 171–172. ISBN 9780195151961.{{cite book}}: CS1 maint: date and year (link)
^ Marion 2012, pp. 36–59.
^ "Radio 3 in Concert". BBC Radio 3. 28 April 2016.

Sources

Hinson, Maurice, ed. (2007). Children's Corner: for the piano. Alfred Music Publishing. ISBN 978-0-73-904757-6.
Marion, Gregory (13 September 2012). "Crossing the Rubicon: Debussy and the Eternal Present of the Past". Articles. 27 (2). Consortium Erudit: 36–59. doi:10.7202/1013112ar. ISSN 1918-512X.
McKinley, Ann (Autumn 1986). "Debussy and American Minstrelsy". The Black Perspective in Music. 13 (3). Foundation for Research in the Afro-American Creative Arts: 249–258. doi:10.2307/1215065. JSTOR 1215065.