Images (Debussy compositions for solo piano)

Images (usually pronounced in French) are six compositions (two series, books or sets, each consisting of three pieces) for solo piano by Claude Debussy. These are distinct from Debussy's Images pour orchestre. The pieces in the first series were written between 1901 and 1905 and the pieces in the second series were written in 1907. The total run time is approximately 30 minutes.

Book 1 or 1st series (L110)

Book 2 or 2nd series (L111)

Debussy (along with Maurice Ravel) was a leading exponent of the innovative musical language in the late nineteenth century that is known as French Impressionism.

Reflets dans l'eau is one of the many pieces Debussy wrote about water; in particular, light reflecting off its surface. The piece creates an image of water being not quite still, then becoming rapid, then decreasing in motion again. Reflets dans l'eau is also an example of the new tone colours Debussy discovered for the piano in this part of his life, and although he later refined this style, this piece is one of the greatest achievements Debussy reached with the instrument. With respect to the first series of Images, Debussy wrote to his publisher, Jacques Durand: "Without false pride, I feel that these three pieces hold together well, and that they will find their place in the literature of the piano ... to the left of Schumann, or to the right of Chopin... " Technical applications such as arpeggio, pedal-point, staccato, tremolo and glissando can be used to describe the variable movements of water. A recording of a piano roll of the piece played by Debussy can be heard at the opening of an episode of BBC Radio 3's Building a Library series.

Hommage à Rameau is more subdued. It is a sarabande in a spirit of austerity and seriousness of intention, befitting a tombeau - a piece honouring a memory of a composer.

Mouvement is the most abstract designation of the pieces. The title and the music generate an effect of swarming or buzzing or of a whirring wheel.Mouvement is built upon a moto perpetuo of triplets, creating a near endless and unstoppable torrent of notes throughout almost every measure of the finale.

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