Debussy and the Fragment. By Linda Cummins.
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- Music and Letters [ 0027-4224 ] ; 2008-05.
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DOI: 10.1093/ml/gcm056
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By Linda Cummins.</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Oxford University Press</publisher><availability><licence><p>© The Author (2008). Published by Oxford University Press. All rights reserved.</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-GTWS0RDP-M">oup</p></availability><date>2008</date></publicationStmt><notesStmt><note type="book-reviews" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-PBH5VBM9-4">book-reviews</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note><note>Debussy and the Fragment. By CumminsLinda. pp. 192. Chiasma, 18. (Rodopi, Amsterdam and New York, 2006, €40. 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<p>At first, this book gives the impression that it will pursue a relatively focused historiographical project. Suggesting that ‘recent scholarship has focused predominantly on Debussy's ties to modernism’ (p. 12), Linda Cummins aims, it seems, to restore to view his indebtedness to the Romantic aesthetic of ‘fragmentation’ famously propounded by the Schlegel brothers and exemplified in music by, for example, Schumann and Chopin. After indicating Charles Rosen's <italic>The Romantic Generation</italic> (Cambridge, Mass., 1995) and John Daverio's <italic>Nineteenth-Century Music and the German Romantic Ideology</italic> (New York, 1993) as central musicological models, and enlisting a few literary scholars to support her sense of significant continuity between the literatures of early-century German Romanticism and late-century French symbolism, Cummins lays out her book as a series of case studies in key ‘fragmentary’ tropes in Debussy: problematic beginnings and endings; the ‘arabesque’ and the ‘sketch’ ; quotation and auto-quotation. A postlude adumbrates a reappraisal of the piano preludes in the light of Jeffrey Kallberg's arguments against integral performance of Chopin's Op. 28 (see his <italic>Chopin at the Boundaries: Sex, History, and Musical Genre</italic> (Cambridge, Mass., 1996)), suggesting that Debussy's sets, too, are better seen as contingent ‘collections’ than unitary works.</p>
<p>As outlined above, the project undoubtedly holds considerable promise. No doubt modernist historiography overstresses the ‘new’ in Debussy at the expense of his debts; historical understanding of ‘threshold’ figures can always profit from attempts to push in the opposite direction from the usual one. The case for Debussy's profound debt to Chopin hardly needs arguing; Rosen, for one, has stressed his fascination with Schumann—there is plenty of room for further consideration along these lines.</p>
<p>The main problem with the pursuit of the project here resides in what might at first seem one of the signal riches of Cummins's book. Her primary argument is enriched and weakened in about equal degree, I think, by a vast range of reference that extends from passing nods to the ancient Greeks (e.g. Menippean satire) through more or less detailed glances at Petrarch, Rabelais, Montaigne, Bacon—and many others besides. Clearly, such range can be justified, to some degree, with reference to the simple fact that ‘the fragment was not a Romantic invention’ (p. 23); it may indeed help to think of Debussy on a ‘historical continuum’ (p. 19) of writers and musicians who have all been intrigued, in various ways, by ‘ruins and monsters, the broken and the malformed’ (p. 21). The question remains, however, as to how this lucky dip of ‘fragmentary’ aesthetics might deepen specific insight into his place on such a continuum.</p>
<p>Cummins is reasonably deft at redacting her two or three central critical commentators on, say, Petrarch's <italic>Canzoniere</italic> or Montaigne's <italic>Essais</italic> or Schlegel's <italic>Lucinde</italic> (these early sections read, perhaps inevitably, as straight paraphrase), but rather less skilful at drawing robust connections between these various literary artefacts and the art of Debussy and his circle. The fact that the book initially reads more like a compendium of relatively independent episodes than a truly convincing tracing of interdisciplinary ‘connections’ (to refer to the goal announced in the general preface to the Chiasma series) might be taken, most generously, as an apt reflection of its subject matter. But questions inevitably arise about the critical demands of interdisciplinarity: what often emerges, here, is a flattening of aesthetic specificity for the sake of positing vague relationships. Do we gain or lose, in terms of interpretative nuance, from the assertion that one of Rosen's glosses of Novalis in an early chapter of <italic>The Romantic Generation</italic> ‘could as easily have been conceived in reference to [Debussy's] “Canope” ’ (p. 94)? Does it significantly deepen our understanding of Mallarmé's <italic>L ’ Après-midi d’un faune</italic> to relate its typographical conceits (line breaks, ellipses, blank spaces) to similar ‘physical signs earlier used by Rabelais, Cervantes, Sterne, and others’ (p. 99)—or is this simply to deflect attention from the specific compositional concerns at issue in every case? There is, finally, much potential in considering Debussy's preludes as an outgrowth of his penchant for ‘collecting’—or, as Cummins nicely puts it, as a ‘scrapbook of the everyday’ (p. 160). But it is hard to see how it helps then to invoke such distant precursors as ‘Renaissance “Cabinets of Curiosities” paintings’ , let alone the specific example of ‘the cabinet of Cornelis van der Geest painted by Willem van Haecht’ (p. 161), for all that Cummins strains to link this artist's inclusion of a self-signed painting to Debussy's ‘self-quotation’ in ‘La Sérénade interrompue’ .</p>
<p>Not all of the book is quite so haphazard. Cummins does attempt, at several points, to develop her argument through close readings of Debussy's music. Her analytical grip is not always secure: in writing about the early Verlaine song ‘Green’ , for example, though she recognizes the obvious tonal ambiguity of the song's opening (on supertonic harmony) she is harder put to identify the enharmonically respelled Neapolitan seventh-to-dominant seventh (of A flat), which she can only describe at first as an obscure ‘interpolation’ (p. 77) and later, more strangely, as one of the piece's ‘extraneous chord progressions’ (p. 79). (She seems to mean any intriguing deflection from the simplest harmonic path.) In her defence, it must be said that Arthur B. Wenk's analysis of the same passage—which she calls ‘correct’—is nonsensical (see his <italic>Debussy and the Poets</italic> (Berkeley and Los Angeles, 1976), 55). (Here, as in an ‘analysis’ of the faun <italic>Prélude</italic> that is, in fact, wholly dependent on Matthew Brown for formal understanding (pp. 100–1; see his ‘Tonality and Form in Debussy's <italic>Prélude à l’après-midi d’un faune</italic>’ , <italic>Music Theory Spectrum</italic>, 15 (1993), 127–43), Cummins's critical insight is limited by her choice of music-analytical resources.) The more significant problem in this case is one of overinterpretation. Though there is plenty of suggestive detail in this little song, it is hard to see that it deserves all the heavy post-Schlegelian weather about narrative disorder, ambiguity, and ‘tension’ , given the distinct criteria of unity at play in a lyric poem (the invocation of a ‘tiny narrative’ (p. 71) is a red herring). There may be a larger, unstated point here about the shift in the status of lyric forms with the Romantics, and the inheritance of that status by the symbolists. But again, something crucial is lost when a well-attested historical continuity is allowed to flatten out into near-identity.</p>
<p>Perhaps this pervasive difficulty can be most clearly seen in the comparison between Chopin's F major prelude, with its famous ‘dominant seventh’ ending, and Debussy's prelude ‘Canope’ , with its much-analysed close on a C dominant ninth. To put it simply, when Rosen, Kallberg, and Daverio look back to the music of Schlegel's era they are focusing on a moment of change, a time in which there was still a robust backdrop of tonal, formal, and generic convention against which Chopin's prelude, for example, could stand out as ‘monstrous’ . (Rosen makes this point clearly in a passage quoted in part by Cummins; see <italic>The Romantic Generation</italic>, 699–700). But by the time of Debussy's compositional maturity, fragmentation—tonal allusiveness; formal open-endedness—had, in a sense, become the ‘convention’ . (In his case, one could almost say that narrative certainty became the monstrous exception—as in the bombastically affirmative peroration of <italic>La Mer</italic> by comparison with the wispy endings of almost all his other orchestral works; or the markedly classicist forms of the last sonatas by comparison with the preludes and songs.) It is not just to insist on some crudely monolithic ‘modernist’ pedigree for Debussy to suggest that such a shift in generic and syntactical perspective fundamentally differentiates the aesthetic questions informing the two periods. No longer a struggle for voice, in fragmentary forms, on the margins of overweening classical accomplishment, the compositional problem becomes one of determining, from within a much more engulfing sense of uncertainty, what the limits of fragmentation might be—in other words, what could be assembled (and upheld) amid the widespread ‘ruins’ .</p>
<p>Ironically enough, in the light of the argument in Cummins's final chapter, it is actually hard to perceive Debussy's exploration of this question clearly if one approaches his ‘fragments’ as worlds unto themselves. To suggest that the individual preludes are more finely appreciated with a view to their companions in the same collection need not imply any ‘organicist conception of musical structure’ , as Cummins, echoing Kallberg and David Ferris, implies (p. 157; see the latter's <italic>Schumann</italic>'<italic>s Eichendorff</italic> Liederkreis <italic>and the Genre of the Romantic Cycle</italic> (New York, 2000)). On the contrary, our understanding is greatly enriched by placing each idiosyncratic individual in a broader perspective informed by Debussy's imaginative play, throughout his ‘twenty-four’ , with a wonderfully variegated palette of faded or vestigial ‘conventions’ . ‘Canope’ (to return to the example at issue) is flanked in the second book of preludes by a piece that is patently—but caricaturally—<italic>in</italic> ‘F major’ (‘Hommage à S. Pickwick Esq. P. P. M. P. C.’) and another that represents one extreme point of self-conscious abstraction in Debussy's treatment of the fundamental elements of previously coherent tonal convention (‘Les Tierces alternées’). Putting aside stultifying Schenkerian presuppositions (Cummins includes an ill-conceived ‘counterpoint graph’ on p. 94), it is possible to trace a loose progression in the role of the ‘C chord’ through all three: from unambiguous dominant in a tongue-in-cheek characterization; to something that hovers between tonic and dominant (among other implications) within a delicately exotic ambient harmonic fluid; to a stark two-note cipher of tonal coherence. Well aware that quarrels over ‘kind’ or ‘degree’ may be unavoidable, I would argue that this range of compositional perspectives—parodic; nostalgic; abstracted—defines a markedly different environment in which to puzzle over issues of ‘unity’ and ‘disunity’ from the one in which Chopin and Schumann had once composed.</p>
<p>On the whole, however, though <italic>Debussy and the Fragment</italic> often frustrates for the breezy superficiality of its interdisciplinary ‘connections’ , it also entertains for the introductory glimpses it provides into the long history of ‘fragmentary’ aesthetics. Given the lasting blight that the ideology of organicism has cast over Debussyan analysis (all too apparent, ironically, in this book's surprisingly frequent references to the archpriest Schenker) any attempt to reimagine his music as the product of fundamentally different aesthetic priorities—however fragmentary or contingent the attempt itself ultimately proves—can only be received as a refreshing contribution.</p>
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