Parallel paths: historical-documentary and analytical contributions as a basis for the performance of Debussy’s 'Syrinx'

Abstract

Syrinx, a short and extraordinary piece, is one of the most important in flute literature. Its preeminent position in the historical repertoire for this instrument is essentially due to two factors: it is the first really significant piece for solo flute after the Sonata in A min composed by C. P. E. Bach exactly 150 years before (1763), and it is the first solo composition for the modern Böhm flute, perfected in 1847. The importance of Syrinx from a strictly musical point of view, is also testified by the great number of analyses dedicated to this piece. For a player – as in my case – Syrinx offers a valuable opportunity to compare the performing suggestions supplied by analytical contributions with other suggestions concerning the relations between the musical and the poetic text (Syrinx was conceived as incidental music), the comparison between the single existing autograph manuscript and the first printed edition, and the testimonies on particular performing aspects of famous historical flute-players who worked in contact with Debussy.