Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time. Of the arabesque in baroque music, he wrote:
“that was the age of the ‘wonderful arabesque' when music was subject to the laws of beauty inscribed in the movements of Nature herself.”
The two arabesques are given these tempo marks:
Arabesque No. 1. Andantino con moto
This arabesque is in the key of E major. The piece begins with parallelism of triads in first inversion, a composition technique very much used by Debussy and other Impressionists which traces back to the tradition of fauxbourdon. It leads into a larger section which begins with a left hand arpeggio in E major and a descending right hand E major pentatonic progression.
The second quieter B section is in A major, starting with a gesture (E-D-E-C♯), briefly passing through E major, returning to A major and ending with a bold pronouncement of the E-D-E-C♯ gesture, but transposed to the key of C major and played forte.
In the middle of the recapitulation of the A section, the music moves to a higher register and descends, followed by a large pentatonic scale ascending and descending, and resolving back to E major.
Arabesque No. 2. Allegretto scherzando
The second arabesque in G major is noticeably quicker and more lively in tempo. It opens with left hand chords and right hand trills. The piece makes several transpositions and explores a lower register of the piano. Again notable is a hint of the pentatonic scale. It closes in a similar fashion to the first arabesque. The style more closely resembles some of Debussy's later works.
In popular culture
This section gives self-sourcing popular culture examples without describing their significance in the context of the article. (August 2019) (Learn how and when to remove this template message)
Arabesque No. 1 is used in the Japanese movie All about Lily Chou-Chou (2001).
Arabesque No. 1 is appropriated on R&B/Soul singer Alicia Keys' track "Like the Sea", from her 4th studio album The Element of Freedom. Arabesque No. 1 was also sampled by the American musician Panda Bear on the track "Lonely Wanderer", which features on his 2015 album Panda Bear Meets the Grim Reaper.
- Stillman, Mimi (Fall 2007). "Debussy, Painter of Sound and Image". The Flutist Quarterly. 33 (1): 41–46.
- Lesure & Smith (eds.) Debussy on Music 1977, p84. Cited in Stillman, Mimi (Fall 2007). "Debussy, Painter of Sound and Image". The Flutist Quarterly. 33 (1): 41–46.
- Olson, Lynn Freeman (1985). Debussy -- Deux Arabesques for the Piano. Alfred Music Publishing. ISBN 0739023063.
- "Alicia Keys's Like the Sea sample of Claude Debussy's Arabesque No. 1". Who Sampled. WhoSampled.com Limited. Retrieved 13 October 2012.
- "Jack Horkheimer Star Gazer FAQ". Jack Horkheimer Star Gazer official site. Miami, Florida: WPBT. October 2007. Archived from the original on February 25, 2008. Retrieved February 21, 2019.
- Djibriel. "Final Fantasy V Walkthrough". Caves of Narshe FF5. Josh Alvies (Rangers51). Retrieved 13 October 2012.
- 2 Arabesques: Scores at the International Music Score Library Project (IMSLP)
- Listen to Deux Arabesques arranged by Kenneth Hesketh
- HD Video of the popular Arabesque No. 1 specially arranged for Flute and Harp by Singaporean Flutist Jed Huang