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1) Debussy
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The author writes of Debussy's life then with illustrated scores takes us through Debussy's songs, piano works, chamber works, orchestral works, choral and dramatic works and finally literary works.
5) Debussy
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Debussy's music and background are effectively juxtaposed in this book. He rebelled against formal restraint as much as the impressionists did in the field of art. His personality was moody, shy, easily provoked to jealousy; he almost died of loneliness for his first patroness, Mme. Vasnier, when he was sent to Italy to study. After many years of devotion to his "green-eyed Gaby," he deserted her for the charming and cultured Rosalie Texier. This...
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"'That great blue Sphinx', Debussy called the sea. Debussy himself was something of a Sphinx: in the early 1890s he was thinking of 'founding a society for musical esotericism', and although, on the surface, most of his music is instantly engaging and accessible, at a deeper level run currents that are dangerous, unpredictable, destructive. In this biography, Roger Nichols considers the life and music of this seminal figure, charting the currents...
Description
Often considered the father of twentieth-century music, Debussy was a visionary whose influence is still felt. This book offers a wide-ranging series of essays on Debussy the man, the musician and composer. It contains new insights into his character, his relationship to his Parisian environment and his musical works across all genres, with challenging views on the roles of nature and eroticism in his life and music. His music is considered through...
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Debussy's "La Mer" is a masterpiece of suggestion and subtlety in its rich depiction of the ocean. Several authors have claimed that "La Mer" sounds like nothing before it. As a specialist in French Impressionism, the British pianist and writer Paul Roberts - also known from the BBC television series "Play It Again"--Introduces Debussy's work to the viewers. Daniel Barenboim conducts the Chicago Symphony Orchestra.
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Debussy and the theatre means, in effect, 'Debussy and Pelléas et Melisande', the only stage work Debussy chose and completed himself without a definite production in view. The opera both established Debussy's mature style and reputation in the forefront of contemporary composers and changed the course of operatic history. But Pelléas was also largely responsible for Debussy's 'compulsive inachievement' in the theatre. Before it he delayed completing...
14) Debussy
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Nearly one hundred years after the death of its composer, the music of Claude Debussy has lost none of its breadth of appeal. With the rare ability to entice listeners on many levels, at its heart lies an engaging simplicity-one which defies traditional analysis and lends mystery to what ultimately is an extremely refined and highly personal approach to composition. Equally fascinating is Debussy's often contradictory personality - at times elusive,...
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"The thesis of this book may be simply stated: Debussy's importance lies in his contribution to the central issues of twentieth-century music. Debussy's influence was not limited to a few new idioms which lesser composers could imitate. Rather, Debussy's music offered a new way of thinking about music in general. His greatest influence has been not on his immediate contemporaries but on composers since 1945, when a revolution in thinking about musical...
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Paul Dukas wrote about Debussy that the strongest influence he experienced was that of the poets, not that of the musicians. This book undertakes to demonstrate that thesis by studying Debussy's settings of songs by Banville, Verlaine, Baudelaire, Mallarmé, Louÿs, and Debussy himself. A particular insight may be gained in the comparison of six poems by Verlaine set to music by both Fauré and Debussy. The book includes a poetic/musical analysis...
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From the first, Debussy's music lent itself to all kinds of convenient critical labels, of which the most fashionable has always been 'impressionist'. In this book the doyen of Polish musicologists examines Debussy's output against the twin backgrounds of his upbringing and of contemporary movements in the other arts besides music. He concludes that the 'impressionist' analogy between music and painting has been too deceptively obvious, and that the...
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