[38] He commented in 1903 that Wagner was "a beautiful sunset that was mistaken for a dawn". [2], Le Martyre de saint Sébastien (1911), originally a five-act musical play to a text by Gabriele D'Annunzio that took nearly five hours in performance, was not a success, and the music is now more often heard in a concert (or studio) adaptation with narrator, or as an orchestral suite of "Fragments symphoniques". [162], In 1904, Debussy played the piano accompaniment for Mary Garden in recordings for the Compagnie française du Gramophone of four of his songs: three mélodies from the Verlaine cycle Ariettes oubliées – "Il pleure dans mon coeur", "L'ombre des arbres" and "Green" – and "Mes longs cheveux", from Act III of Pelléas et Mélisande. The Prix carried with it a residence at the Villa Medici, the French Academy in Rome, to further the winner's studies. The composer was initially unwilling to use these relatively early piano compositions because they … [52] The membership was fluid, but at various times included Maurice Ravel, Ricardo Viñes, Igor Stravinsky and Manuel de Falla. Let us know what you think of the Last.fm website. 43–44 (Saint-Saëns) and pp. [131] Howat cautions against the assumption that Debussy's Ballade (1891) and Nocturne (1892) are influenced by Chopin – in Howat's view they owe more to Debussy's early Russian models[132] – but Chopin's influence is found in other early works such as the Two arabesques (1889–1891). Many of these early recordings have been reissued on CD. [51] He wrote to his wife on 11 August from Dieppe, telling her that their marriage was over, but still making no mention of Bardac. [114][n 16]. Manuel worked in a printing factory. [118] Lesure takes a similar view, endorsing Howat's conclusions while not taking a view on Debussy's conscious intentions. 10 in G minor (also the only work where the composer's title included a key). He experimented with many types of musical techniques and intricacies in his studies, from serialism to chromaticism and has been labelled one of the main exponents for impressionistic music. You have only to listen. In addition to displays depicting his life and work, the building contains a small auditorium in which an annual season of concerts is given. In 2018, to mark the centenary of the composer's death, Warner Classics, with contributions from other companies, issued a 33-CD set that is claimed to include all the music Debussy wrote. Whether Vasnier was content to tolerate his wife's affair with the young student or was simply unaware of it is not clear, but he and Debussy remained on excellent terms, and he continued to encourage the composer in his career. Debussy's musical development was slow, and as a student he was adept enough to produce for his teachers at the Conservatoire works that would conform to their conservative precepts. That, and the three Images, premiered the following year, were the composer's last orchestral works. Although they did not make any great impact with the public they were well reviewed by musicians including Paul Dukas, Alfred Bruneau and Pierre de Bréville. Add image The First World War was still raging and Paris was under German aerial and artillery bombardment. [93] The central "Jeux de vagues" section has the function of a symphonic development section leading into the final "Dialogue du vent et de la mer", "a powerful essay in orchestral colour and sonority" (Orledge) which reworks themes from the first movement. [40] He also attended two concerts of Rimsky-Korsakov's music, conducted by the composer. [98] The work influenced Ravel, whose own String Quartet, written ten years later, has noticeably Debussian features. [42][n 7], Marie Vasnier ended her liaison with Debussy soon after his final return from Rome, although they remained on good enough terms for him to dedicate to her one more song, "Mandoline", in 1890. The analyst David Cox wrote in 1974 that Debussy, admiring Wagner's attempts to combine all the creative arts, "created a new, instinctive, dreamlike world of music, lyrical and pantheistic, contemplative and objective – a kind of art, in fact, which seemed to reach out into all aspects of experience. "[143] In 1915 he complained that "since Rameau we have had no purely French tradition [...] We tolerated overblown orchestras, tortuous forms [...] we were about to give the seal of approval to even more suspect naturalizations when the sound of gunfire put a sudden stop to it all." [87] In a 2004 study, Mark DeVoto comments that Debussy's early works are harmonically no more adventurous than existing music by Fauré;[94] in a 2007 book about the piano works, Margery Halford observes that Two Arabesques (1888–1891) and "Rêverie" (1890) have "the fluidity and warmth of Debussy's later style" but are not harmonically innovative. [12][n 3], Debussy's talents soon became evident, and in 1872, aged ten, he was admitted to the Conservatoire de Paris, where he remained a student for the next eleven years. His piano works include two books of Préludes and one of Études. With early influences including Russian and Far Eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. Raoul introduced his teacher to his mother, to whom Debussy quickly became greatly attracted. [145] Debussy was much in sympathy with the Symbolists' desire to bring poetry closer to music, became friendly with several leading exponents, and set many Symbolist works throughout his career. His fatal illness prevented him from completing the set, but those for cello and piano (1915), flute, viola and harp (1915), and violin and piano (1917 – his last completed work) are all concise, three-movement pieces, more diatonic in nature than some of his other late works. [100] The composer Olivier Messiaen was fascinated by its "extraordinary harmonic qualities and ... transparent instrumental texture". [134], A contemporary influence was Erik Satie, according to Nichols Debussy's "most faithful friend" amongst French musicians. [72], The Bardacs divorced in May 1905. [2] En blanc et noir (In white and black, 1915), a three-movement work for two pianos, is a predominantly sombre piece, reflecting the war and national danger. [n 9] For most of 1901 he had a sideline as music critic of La Revue Blanche, adopting the pen name "Monsieur Croche". But there is no help for it! He loved his music – and perhaps himself. [29][n 6] Nevertheless, in 1884 Debussy won France's most prestigious musical award, the Prix de Rome,[31] with his cantata L'enfant prodigue. [129], Debussy opined that Chopin was "the greatest of them all, for through the piano he discovered everything";[130] he professed his "respectful gratitude" for Chopin's piano music. Halford cites the popular "Clair de Lune" (1890) from the Suite Bergamasque as a transitional work pointing towards the composer's mature style. [152] Stravinsky was more ambivalent about Debussy's music (he thought Pelléas "a terrible bore ... in spite of many wonderful pages")[153] but the two composers knew each other and Stravinsky's Symphonies of Wind Instruments (1920) was written as a memorial for Debussy. He described the symphonies of Schumann and Mendelssohn as "respectful repetition", In a letter of 1908 he wrote: "I am trying to do 'something different' – an effect of reality ... what the imbeciles call 'impressionism', a term which is as poorly used as possible, particularly by the critics, since they do not hesitate to apply it to [J.M.W.]. [2][87][96] Newman considered it "completely original in idea, absolutely personal in style, and logical and coherent from first to last, without a superfluous bar or even a superfluous note";[87] Pierre Boulez observed, "Modern music was awakened by Prélude à l'après-midi d'un faune". He was one of the most important figures in music at the turn of the 20th century; his music represents the transition from late-romantic to 20th century classical. Much of his music from this period is on a small scale, such as the Two Arabesques, Valse romantique, Suite bergamasque, and the first set of Fêtes galantes. Debussy was addressed by various permutations of his names during the course of his life. [138][n 17] His relationship to Beethoven was complex; he was said to refer to him as "le vieux sourd" (the old deaf one)[139] and asked one young pupil not to play Beethoven's music for "it is like somebody dancing on my grave;"[140] but he believed that Beethoven had profound things to say, yet did not know how to say them, "because he was imprisoned in a web of incessant restatement and of German aggressiveness. Respectively, Reflections in the Water, Sounds and Perfumes Swirl in the Evening Air, and Mists. [48] She was affectionate, practical, straightforward, and well liked by Debussy's friends and associates,[49] but he became increasingly irritated by her intellectual limitations and lack of musical sensitivity. "[2] In 1914 Debussy started work on a planned set of six sonatas for various instruments. He is one of my favourite 20th Century composers and one of the hardest to perform! He remarked to a colleague that if Wagner, Mozart and Beethoven could come to his door and ask him to play, Lesure, p. 4; Fulcher, p. 101; Lockspeiser, p. 235; and Nichols (1998), p. 3, Lockspeiser, p. 6; Jensen, p. 4; and Lesure, p. 85, Lockspeiser, p. 6; and Trezise (2003), p. xiv, Lockspeiser, pp. [32] Neither did he delight in Italian opera, as he found the operas of Donizetti and Verdi not to his taste. [47], In terms of musical recognition, Debussy made a step forward in December 1894, when the symphonic poem Prélude à l'après-midi d'un faune, based on Stéphane Mallarmé's poem, was premiered at a concert of the Société Nationale. [104][106] In this piece, Debussy abandoned the whole-tone scale he had often favoured previously in favour of the octatonic scale with what the Debussy scholar François Lesure describes as its tonal ambiguities. [84] He also had a fierce enemy at this period in the form of Camille Saint-Saëns, who in a letter to Fauré condemned Debussy's En blanc et noir: "It's incredible, and the door of the Institut [de France] must at all costs be barred against a man capable of such atrocities." The interview was published in, Notes to Warner Classics CD 190295642952 (2018), style of late 19th-century French painting, "An introduction to the solo piano music of Debussy and Ravel", "From L'aprés-midi d'un faune to Pelléas", "Maeterlinck's Mistress Assumed She Was Going to Sing Melisande. [65] After despatching Lilly to her parental home at Bichain in Villeneuve-la-Guyard on 15 July 1904, Debussy took Emma away, staying incognito in Jersey and then at Pourville in Normandy. [146], Debussy's literary inspirations were mostly French, but he did not overlook foreign writers. Biographers of Debussy, including Edward Lockspeiser, Stephen Walsh and Eric Frederick Jensen, comment that although Antoinette Mauté de Fleurville was a woman of some affectations, with the assumed manner of a grande dame, she was a fine teacher. "[35] During his years in Rome Debussy composed – not for the Academy – most of his Verlaine cycle, Ariettes oubliées, which made little impact at the time but was successfully republished in 1903 after the composer had become well known. [15] The course included music history and theory studies with Louis-Albert Bourgault-Ducoudray, but it is not certain that Debussy, who was apt to skip classes, actually attended these. I think he was wrapped up in his genius",[77] but biographers are agreed that whatever his relations with lovers and friends, Debussy was devoted to his daughter. Vallas, p. 225. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. [76], Debussy died on 25 March 1918 at his home. [82] Jeux was unfortunate in its timing: two weeks after the premiere, in March 1913, Diaghilev presented the first performance of Stravinsky's The Rite of Spring, a sensational event that monopolised discussion in musical circles, and effectively sidelined Jeux along with Fauré's Pénélope, which had opened a week before. [87] Later commentators have rated some of the late works more highly than Newman and other contemporaries did, but much of the music for which Debussy is best known is from the middle years of his career.[2]. [95], Musicians from Debussy's time onwards have regarded Prélude à l'après-midi d'un faune (1894) as his first orchestral masterpiece. 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