Small_nws_excemption3 Debussy: Nuages and Fetes from Nocturnes (2017 Side By Side)

Orchestral Excerpts | Caroline Gilbert, Viola

Nuages ("Clouds") Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent. Fêtes ("Festivals") Animé et très rythmé – Un peu plus animé – Modéré (mais toujours très rythmé) – Tempo I – De plus en plus sonore et en serrant le mouvement – Même Mouvement. Sirènes ("Sirens") Modérément animé – Un peu plus lent – En animant, surtout dans l’expression – Revenir progressivement au Tempo I – En augmentant peu à peu – Tempo I – Plus lent et en retenant jusqu’à la fin. The three movements were inspired by a series of impressionist paintings, also entitled "Nocturnes" by James Abbott McNeill Whistler.[3] Debussy wrote an "introductory note" to Nocturnes as follows: "The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. 'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. 'Fêtes' gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. 'Sirènes' depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on."[4] Nuages and Fêtes were premiered by Camille Chevillard with the Lamoureux Orchestra on 9 December 1900 in Paris. The complete suite was first heard under the same forces on 27 October 1901. The initial performances met with a cool response from critics and the public, but today these are considered some of Debussy's most accessible and popular works, admired for their beauty.[3] The music lasts for about 25 minutes.[3]

Claude Debussy



Caroline Gilbert

Caroline Gilbert is a third-year Viola Fellow at the New World Symphony and a native of Bloomington, Indiana. While earning her bachelors of music degree at Indiana University (IU), her teacher, Atar Arad, invited her to Keshet Eilon Mastercourse in Israel where her performance was broadcast on the radio in New York. She went on to play with the New York String Orchestra at Carnegie Hall, work with Michael Tilson Thomas as part of the YouTube Symphony Orchestra in Sydney, Australia, and toured Turkey, Spain and Germany with the Schleswig-Holstien Festival Orchestra.

While at IU, Ms. Gilbert won the concerto competition, performing Hindemith's Der Schwanendreher as a soloist with the IU chamber orchestra, and was selected to perform at the Kennedy Center as part of the "Conservatory Project" series. She was then accepted to The Juilliard School, where she completed her master’s degree studying with Samuel Rhodes and Roger Tapping. She has been a fellow at the Tanglewood Music Center for two summers, working with and performing alongside members of the Boston Symphony Orchestra, and this summer she was invited to Switzerland to participate in the Verbier Festival Orchestra.

Outside the classroom and performance hall, Ms. Gilbert is very involved with community outreach projects. She taught violin for four years as part of the Fairview Violin Project which brought music to a school that was failing according to the No Child Left Behind Act. She was also the violist for Ballet Next, an emerging ballet company in New York City which helped her combine her passions for music and dance, which she studied for 14 years while growing up.