Practicing and Performing Debussy’s Estampes

Claude Debussy (1862–1918), a leading composer in the French impressionist movement, had a considerable impact on composition in the twentieth century. He wrote masterpieces in genres ranging from vocal music to chamber music to opera and orchestral works. Debussy’s piano works, particularly his four collections—Estampes (1903), Images Books I and II (1901 and 1905), Préludes Books I and II (1909–10 and 1913), and Études (1915)—brought significant innovations to the solo piano repertoire of his time and remain staples over one hundred years later. The purpose of this dissertation is to demonstrate my research for Estampes from various angles, including analysis of different recordings by prominent Debussy interpreters, musical theoretical analysis, and technical analysis, all with the idea of helping pianists learn and execute Estampes in an informed manner. Currently, extensive research on Estampes centers around historical perspectives that contextualize different publications and arrangements, technical aspects such as dynamics and pedaling, and theoretical analysis of structure, form, and tonality. This dissertation provides my personal guidelines for Estampes from two different angles: a theoretical analysis and an examination of technical demands. Research on the work’s historical background, such as cultural influences and recording comparisons, has been incorporated. This information is synthesized to create a general study guide for Debussy’s Estampes aimed at helping pianists learn the work. I also provide an annotated list of suggested pieces to practice in preparation for learning Estampes.