Claude Debussy - Knowledge

630: 1276: 7362: 483: 817: 575: 42: 1747: 747: 352: 2103: 2238: 2124:, reacted against the realism, naturalism, objectivity and formal conservatism that prevailed in the 1870s. They favoured poetry using suggestion rather than direct statement; the literary scholar Chris Baldrick writes that they evoked "subjective moods through the use of private symbols, while avoiding the description of external reality or the expression of opinion". 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. 200: 1625: 1475: 1058: 1689:. Langham Smith comments that Debussy wrote many piano pieces with titles evocative of nature – "Reflets dans l'eau" (1905), "Les Sons et les parfums tournent dans l'air du soir" (1910) and "Brouillards" (1913) – and suggests that the Impressionist painters' use of brush-strokes and dots is paralleled in the music of Debussy. Although Debussy said that anyone using the term (whether about painting or music) was an imbecile, some Debussy scholars have taken a less absolutist line. Lockspeiser calls 940: 10729: 7277: 364:

he wrote 27 songs dedicated to her during their seven-year relationship. She was the wife of Henri Vasnier, a prominent civil servant, and much younger than her husband. She soon became Debussy's lover as well as his muse. 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.

10851: 590:, and for most of the year worked to complete the work. While still living with Dupont, he had an affair with the singer Thérèse Roger, and in 1894 he announced their engagement. His behaviour was widely condemned; anonymous letters circulated denouncing his treatment of both women, as well as his financial irresponsibility and debts. The engagement was broken off, and several of Debussy's friends and supporters disowned him, including 1566:(1915) for piano have divided opinion. Writing soon after Debussy's death, Newman found them laboured – "a strange last chapter in a great artist's life"; Lesure, writing eighty years later, rates them among Debussy's greatest late works: "Behind a pedagogic exterior, these 12 pieces explore abstract intervals, or – in the last five – the sonorities and timbres peculiar to the piano." In 1914 Debussy started work on a planned set of 10834: 10868: 1255:, the Debussy of this period appears as a liberator from Germanic styles of composition – offering instead "an exquisite, pellucid style" capable of conveying "not only gaiety and whimsicality but emotion of a deeper sort". In a 2004 study, Mark DeVoto comments that Debussy's early works are harmonically no more adventurous than existing music by Fauré; in a 2007 book about the piano works, Margery Halford observes that 10817: 10765: 10753: 6721: 10789: 10777: 479:. He responded positively to Wagner's sensuousness, mastery of form, and striking harmonies, and was briefly influenced by them, but, unlike some other French composers of his generation, he concluded that there was no future in attempting to adopt and develop Wagner's style. He commented in 1903 that Wagner was "a beautiful sunset that was mistaken for a dawn". 1456:. The latter failed as a ballet because of what Jann Pasler describes as a banal scenario, and the score was neglected for some years. Recent analysts have found it a link between traditional continuity and thematic growth within a score and the desire to create discontinuity in a way mirrored in later 20th century music. In this piece, Debussy abandoned the 258:; after its defeat by French government troops in 1871 he was sentenced to four years' imprisonment, of which he only served one year. His fellow Communard prisoners included his friend Charles de Sivry, a musician. Sivry's mother, Antoinette Mauté de Fleurville, gave piano lessons, and at his instigation the young Debussy became one of her pupils. 1922:, whom he also admired as a model of form, seeing himself as heir to their mastery of the genre. 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 – but Chopin's influence is found in other early works such as the 2046:('the old deaf one') and asked one young pupil not to play Beethoven's music for "it is like somebody dancing on my grave;" 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." He was not in sympathy with 1906:, Debussy found what he called "a perfect whiteness", and he felt that although Palestrina's musical forms had a "strict manner", they were more to his taste than the rigid rules prevailing among 19th-century French composers and teachers. He drew inspiration from what he called Palestrina's "harmony created by melody", finding an 417:, who visited the students and played for them. In June 1885, Debussy wrote of his desire to follow his own way, saying, "I am sure the Institute would not approve, for, naturally it regards the path which it ordains as the only right one. But there is no help for it! I am too enamoured of my freedom, too fond of my own ideas!" 738:". The Apaches, led by Ravel (who attended every one of the 14 performances in the first run), were loud in their support; the conservative faculty of the Conservatoire tried in vain to stop its students from seeing the opera. The vocal score was published in early May, and the full orchestral score in 1904. 1525: 1419:

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. The reviews were sharply divided. Some critics thought the treatment less subtle and less mysterious than his previous works, and even a

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for the rest of her life. The ensuing scandal caused Bardac's family to disown her, and Debussy lost many good friends including Dukas and Messager. His relations with Ravel, never close, were exacerbated when the latter joined other former friends of Debussy in contributing to a fund to support the

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Debussy abandoned Dupont for her friend Marie-Rosalie Texier, known as "Lilly", whom he married in October 1899, after threatening suicide if she refused him. She was affectionate, practical, straightforward, and well liked by Debussy's friends and associates, but he became increasingly irritated by

89:. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, 2070:

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." Taruskin writes that some have seen this as a reference to the composers

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With the advent of the First World War, Debussy became ardently patriotic in his musical opinions. Writing to Stravinsky, he asked "How could we not have foreseen that these men were plotting the destruction of our art, just as they had planned the destruction of our country?" In 1915 he complained

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Debussy and Emma Bardac eventually married in 1908, their troubled union enduring for the rest of his life. The following year began well, when at Fauré's invitation, Debussy became a member of the governing council of the Conservatoire. His success in London was consolidated in April 1909, when he

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At the end of 1880 Debussy, while continuing his studies at the Conservatoire, was engaged as accompanist for Marie Moreau-Sainti's singing class; he took this role for four years. Among the members of the class was Marie Vasnier; Debussy was greatly taken with her, and she inspired him to compose:

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At the Conservatoire, Debussy initially made good progress. Marmontel said of him, "A charming child, a truly artistic temperament; much can be expected of him". Another teacher was less impressed: Émile Durand wrote in a report, "Debussy would be an excellent pupil if he were less sketchy and less

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on the day of his birth as "Achille Claude". Many authorities hyphenate "Achille-Claude". As a little boy he was addressed as "Claude"; his baptismal certificate (he was not baptised until July 1864) is in the name of "Claude-Achille"; as a youth he was known as "Achille"; at the beginning of his

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epidemic of 1919. Mary Garden said, "I honestly don't know if Debussy ever loved anybody really. He loved his music – and perhaps himself. I think he was wrapped up in his genius", but biographers are agreed that whatever his relations with lovers and friends, Debussy was devoted to his daughter.

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In 1889, Debussy held conversations with his former teacher Guiraud, which included exploration of harmonic possibilities at the piano. The discussion, and Debussy's chordal keyboard improvisations, were noted by a younger pupil of Guiraud, Maurice Emmanuel. The chord sequences played by Debussy

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Because of, rather than in spite of, his preoccupation with chords in themselves, he deprived music of the sense of harmonic progression, broke down three centuries' dominance of harmonic tonality, and showed how the melodic conceptions of tonality typical of primitive folk-music and of medieval

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wrote, "It would be hardly too much to say that Debussy spent a third of his life in the discovery of himself, a third in the free and happy realisation of himself, and the final third in the partial, painful loss of himself". Later commentators have rated some of the late works more highly than

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and her husband, Parisian banker Sigismond Bardac. Raoul introduced his teacher to his mother, to whom Debussy quickly became greatly attracted. She was sophisticated, a brilliant conversationalist, an accomplished singer, and relaxed about marital fidelity, having been the mistress and muse of

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writes that Debussy, like Fauré "often juxtaposes the same basic material in different modes or with a strategically shifted bass" which, Howat suggests, is "arguably his most literal approach to true Impressionist technique, the equivalent of Monet's fixed object (be it cathedral or haystack)

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I have made mysterious Nature my religion ... When I gaze at a sunset sky and spend hours contemplating its marvellous ever-changing beauty, an extraordinary emotion overwhelms me. Nature in all its vastness is truthfully reflected in my sincere though feeble soul. Around me are the trees

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Lalo objected to what he felt was the artificiality of the piece: "a reproduction of nature; a wonderfully refined, ingenious and carefully composed reproduction, but a reproduction none the less". Another Parisian critic, Louis Schneider, wrote, "The audience seemed rather disappointed: they

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is a unique virtuoso, so much so that his virtuosity seems to make him forget the claims of good taste"), musical politics ("The English actually think that a musician can manage an opera house successfully!"), and audiences ("their almost drugged expression of boredom, indifference and even

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and others. Langham Smith writes that the term became transferred to the compositions of Debussy and others which were "concerned with the representation of landscape or natural phenomena, particularly the water and light imagery dear to Impressionists, through subtle textures suffused with

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argued in a review of Taruskin's work that Debussy was instead implying "that opera was too Wagnerian, too German, to fit his ideal of French style", citing Georges Liébert, one of the editors of Debussy's collected correspondence, as an authority, saying that Debussy was not antisemitic.

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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

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of colour, the apostle of languor, the exclusivist in thought and in style." During the next few years Debussy developed his personal style, without, at this stage, breaking sharply away from French musical traditions. Much of his music from this period is on a small scale, such as the

846:, hitherto an admirer of Debussy, wrote, "I do not hear, I do not see, I do not smell the sea". In the same month the composer's only child was born at their home. Claude-Emma, affectionately known as "Chouchou", was a musical inspiration to the composer (she was the dedicatee of his 1766:

Debussy wrote "We must agree that the beauty of a work of art will always remain a mystery we can never be absolutely sure 'how it's made.' We must at all costs preserve this magic which is peculiar to music and to which music, by its nature, is of all the arts the most receptive."

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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. She claimed to have studied with

1738:, finds the intrinsic evidence "remarkable", with the caveat that no written or reported evidence suggests that Debussy deliberately sought such proportions. Lesure takes a similar view, endorsing Howat's conclusions while not taking a view on Debussy's conscious intentions. 1756: 367:

At the Conservatoire, Debussy incurred the disapproval of the faculty, particularly his composition teacher, Guiraud, for his failure to follow the orthodox rules of composition then prevailing. Nevertheless, in 1884 Debussy won France's most prestigious musical award, the

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career he sought to make his name more impressive by calling himself "Claude-Achille" (and sometimes rendering his surname as "de Bussy"). He signed himself as "Claude-Achille" between December 1889 and 4 June 1892, after which he permanently adopted the shorter "Claude".

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must at all costs be barred against a man capable of such atrocities". Saint-Saëns had been a member of the Institut since 1881: Debussy never became one. His health continued to decline; he gave his final concert on 14 September 1917 and became bedridden in early 1918.

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which was becoming known in Paris at this time. During the conversation, Debussy told Guiraud, "There is no theory. You have only to listen. Pleasure is the law!" – although he also conceded, "I feel free because I have been through the mill, and I don't write in the

1755: 254:, where they remained until the following year. During his stay in Cannes, the seven-year-old Debussy had his first piano lessons; his aunt paid for him to study with an Italian musician, Jean Cerutti. Manuel Debussy remained in Paris and joined the forces of the 2261:

first encountered Debussy's music in 1907 and later said that "Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities". Not only Debussy's use of whole-tone scales, but also his style of word-setting in

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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

1554:(1909–10, 1911–13), short pieces that depict a wide range of subjects. Lesure comments that they range from the frolics of minstrels at Eastbourne in 1905 and the American acrobat "General Lavine" "to dead leaves and the sounds and scents of the evening air". 442:

for piano and orchestra, which was heavily based on Franck's music and was eventually withdrawn by Debussy. The Academy chided him for writing music that was "bizarre, incomprehensible and unperformable". Although Debussy's works showed the influence of

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operations. It achieved only a temporary respite, and occasioned him considerable frustration ("There are mornings when the effort of dressing seems like one of the twelve labours of Hercules"). He also had a fierce enemy at this period in the form of

1757: 1448:, but differs in employing traditional British and French folk tunes, and in making the central movement, "Ibéria", far longer than the outer ones, and subdividing it into three parts, all inspired by scenes from Spanish life. Although considering 720:. For three months, Debussy attended rehearsals practically every day. In February there was conflict between Maeterlinck on the one hand and Debussy, Messager and Carré on the other about the casting of Mélisande. Maeterlinck wanted his mistress, 2595:

for Tchaikovsky's perusal; a month later Tchaikovsky wrote back, mildly complimenting the work but remarking on its slightness and brevity. Debussy did not publish it, and the manuscript remained in the von Meck family and was not published until

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Debussy continued to compose songs, piano pieces and other works, some of which were publicly performed, but his music made only a modest impact, although his fellow composers recognised his potential by electing him to the committee of the

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in 1875 and second prize in 1877, but failed at the competitions in 1878 and 1879. These failures made him ineligible to continue in the Conservatoire's piano classes, but he remained a student for harmony, solfège and, later, composition.

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Debussy strongly objected to the use of the word "Impressionism" for his (or anybody else's) music, but it has continually been attached to him since the assessors at the Conservatoire first applied it, opprobriously, to his early work

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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". Debussy enlisted the help of

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a decade later, Rimsky wrote in his diary, "Poor and skimpy to the nth degree; there is no technique; even less imagination. The impudent decadent – he ignores all music that has gone before him, and ... thinks he has discovered

1523: 171:, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including 1502: 1295:(1894) as his first orchestral masterpiece. 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"; 1524: 1122: 1101: 520:

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. Later in 1890 Debussy met

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Initially Debussy found the artistic atmosphere of the Villa Medici stifling, the company boorish, the food bad, and the accommodation "abominable". Neither did he delight in Italian opera, as he found the operas of

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In contrast to the "impressionistic" characterisation of Debussy's music, several writers have suggested that he structured at least some of his music on rigorous mathematical lines. In 1983 the pianist and scholar

1077: 1949:, alias Richard Wagner, appearing at the turning of a bar". After Debussy's short Wagnerian phase, he started to become interested in non-Western music and its unfamiliar approaches to composition. The piano piece 2701:, played in Paris in 1908. A myth grew up that Lilly Debussy shot herself in the Place de la Concorde, rather than at home. That version of events is not corroborated by Debussy scholars such as Marcel Dietschy, 1778:– "not merely bass pedals in the actual sense of the term, but sustained 'pedals' in any voice"; glittering passages and webs of figurations which distract from occasional absence of tonality; frequent use of 728:. The opera opened on 30 April 1902, and although the first-night audience was divided between admirers and sceptics, the work quickly became a success. It made Debussy a well-known name in France and abroad; 1917:

was "the greatest of them all, for through the piano he discovered everything"; he professed his "respectful gratitude" for Chopin's piano music. He was torn between dedicating his own Études to Chopin or to

1124: 1103: 4615: 3115: 1514: 791:. On 14 October, five days before their fifth wedding anniversary, Lilly Debussy attempted suicide, shooting herself in the chest with a revolver; she survived, although the bullet remained lodged in her 1079: 1798:, "without any harmonic bridge". Reti concludes that Debussy's achievement was the synthesis of monophonic based "melodic tonality" with harmonies, albeit different from those of "harmonic tonality". 809:, celebrating his divorce on 2 August. After a brief visit to London, the couple returned to Paris in September, buying a house in a courtyard development off the Avenue du Bois de Boulogne (now 389:, to further the winner's studies. Debussy was there from January 1885 to March 1887, with three or possibly four absences of several weeks when he returned to France, chiefly to see Marie Vasnier. 1992:

at a time when only a personal friend of the composer could have known them." (They were not published until 1911). Debussy's interest in the popular music of his time is evidenced not only by the

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Debussy's birthplace is now a museum dedicated to him. In addition to displays depicting his life and work, the building contains a small auditorium in which an annual season of concerts is given.

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From around 1900 Debussy's music became a focus and inspiration for an informal group of innovative young artists, poets, critics, and musicians who began meeting in Paris. They called themselves

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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. His friend

978:. The military situation did not permit the honour of a public funeral with ceremonious graveside orations. The funeral procession made its way through deserted streets to a temporary grave at 3631: 1331:(1894–1901) is, in Halford's view, one of the first examples of the mature Debussy as a composer for the piano: "a major landmark ... and an enlargement of the use of piano sonorities". 1222:, in the idiom. But the work as a whole is distinctive, and the first in which we get a hint of the Debussy we were to know later – the lover of vague outlines, of half-lights, of mysterious 5679: 1713:

stretching up their branches to the skies, the perfumed flowers gladdening the meadow, the gentle grass-carpeted earth, ... and my hands unconsciously assume an attitude of adoration.

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Manoury. Debussy senior ran a china shop and his wife was a seamstress. The shop was unsuccessful, and closed in 1864; the family moved to Paris, first living with Victorine's mother, in

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as exceptionally varied in texture, "ranging from the Musorgskian start of 'Nuages', through the approaching brass band procession in 'Fêtes', to the wordless female chorus in 'Sirènes

1892:– that Debussy acquired his taste for "ancient and oriental modes and for vivid colorations, and a certain disdain for academic rules". Lesure also considers that Mussorgsky's opera 1350:

comments that this movement shows the composer's rejection of "the traditional dictum that string instruments should be predominantly lyrical". The work influenced Ravel, whose own

1501: 1112: 1091: 629: 2419:: "Danseuses de Delphes", "Le vent dans la plaine", "La cathédrale engloutie", "La danse de Puck" and "Minstrels". The 1904 and 1913 sets have been transferred to compact disc. 85:

Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France's leading music college, the

4954: 333:. He travelled with her family for the summers of 1880 to 1882, staying at various places in France, Switzerland and Italy, as well as at her home in Moscow. He composed his 1782:

which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons", described by some writers as non-functional harmonies; bitonality, or at least

529:, enjoying the same café society and struggling to survive financially. In the same year Debussy began a relationship with Gabrielle (Gaby) Dupont, a tailor's daughter from 517:'s music, conducted by the composer. This too made an impression on him, and its harmonic freedom and non-Teutonic tone colours influenced his own developing musical style. 2309:

and nocturnal perfumes," pointedly alluding to the titles of pieces by Debussy. Later generations of French composers had a much more positive relationship with his music.

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and Nigel Simeone; and no mention of the Place de la Concorde appeared in even the most sensational press coverage at the time. Another inaccurate report of the case, in

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reacted against what they saw as the poetic, mystical quality of Debussy's music in favour of something more hard-edged. Their sympathiser and self-appointed spokesman

1067: 787:, telling her that their marriage was over, but still making no mention of Bardac. When he returned to Paris he set up home on his own, taking a flat in a different 1972:

A contemporary influence was Erik Satie, according to Nichols Debussy's "most faithful friend" amongst French musicians. Debussy's orchestration in 1896 of Satie's

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published a book contending that certain of Debussy's works are proportioned using mathematical models, even while using an apparent classical structure such as

1043: 321:, where he rapidly acquired a taste for luxury that was to remain with him all his life. His first compositions date from this period, two settings of poems by 2557:, and although many of Debussy's biographers have been sceptical about this, her artistic prowess was vouched for not only by Debussy, but by her son-in-law, 2022:

In addition to the composers who influenced his own compositions, Debussy held strong views about several others. He was for the most part enthusiastic about

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at the Société Nationale in the same year. In May 1893 Debussy attended a theatrical event that was of key importance to his later career – the premiere of

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Saint-Saëns, Franck, Massenet, Fauré and Ravel were all known as teachers, and Fauré, Messager and Dukas were regular music critics for Parisian journals.

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The application of the term "Impressionist" to Debussy and the music he influenced has been much debated, both during his lifetime and since. The analyst

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in poetry and the disappearance of the subject or model in painting influenced him to think about issues of musical form." Debussy was influenced by the

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Mary Garden was Messager's mistress at the time, but as far as is known she was chosen for wholly musical and dramatic reasons. She is described in the

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structures. Debussy believed that since Beethoven, the traditional symphonic form had become formulaic, repetitive and obsolete. The three-part, cyclic

1259:(1888–1891) and "Rêverie" (1890) have "the fluidity and warmth of Debussy's later style" but are not harmonically innovative. Halford cites the popular 1812:. A further improvisation by Debussy during this conversation included a sequence of whole tone harmonies which may have been inspired by the music of 900:

in New York in successive months. In the same year, visiting Budapest, Debussy commented that his works were better known there than in Paris. In 1912

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Like many other composers of the time, Debussy supplemented his income by teaching and writing. For most of 1901 he had a sideline as music critic of

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company in 1913. They contain fourteen of his pieces: "D'un cahier d'esquisses", "La plus que lente", "La soirée dans Grenade", all six movements of

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summarised six features of Debussy's music, which he asserted "established a new concept of tonality in European music": the frequent use of lengthy

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In 1904, Debussy played the piano accompaniment for Mary Garden in recordings for the Compagnie française du Gramophone of four of his songs: three

1218:(1889) show "the new, strange way which the young musician will hereafter follow". Newman concurred: "There is a good deal of Wagner, especially of 10963: 4911: 10998: 1415:

movement with, as Orledge observes, a cyclic theme, in the manner of Franck. The central "Jeux de vagues" section has the function of a symphonic

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The Bardacs divorced in May 1905. Finding the hostility in Paris intolerable, Debussy and Emma (now pregnant) went to England. They stayed at the

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music. The gamelan scales, melodies, rhythms, and ensemble textures appealed to him, and echoes of them are heard in "Pagodes" in his piano suite

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began publishing scholarly new editions of the works of major composers, and Debussy undertook the supervision of the editing of Chopin's music.

1452:"the pinnacle of Debussy's achievement as a composer for orchestra", Trezise notes a contrary view that the accolade belongs to the ballet score 1420:

step backward; others praised its "power and charm", its "extraordinary verve and brilliant fantasy", and its strong colours and definite lines.

758:, but his social standing suffered a great blow when another turn in his private life caused a scandal the following year. One of his pupils was 7448: 6789: 6646: 1291: 1281: 602: 100: 3187: 1560:(In white and black, 1915), a three-movement work for two pianos, is a predominantly sombre piece, reflecting the war and national danger. The 4934: 7313: 2249:

writes that "if one omits Schoenberg a list of 20th-century composers influenced by Debussy is practically a list of 20th-century composers

1945:, Debussy "did not see 'what anyone can do beyond Tristan'," although he admitted that it was sometimes difficult to avoid "the ghost of old 82:

composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.

2175:, but abandoned that once he turned his attention to setting Maeterlinck's play. In 1890 he began work on an orchestral piece inspired by 6839: 1574:(1915), flute, viola and harp (1915), and violin and piano (1917 – his last completed work) are all concise, three-movement pieces, more 1171:

and cantatas, using a chamber orchestra and a small body of choral tone and using new or long-neglected scales and harmonies. His early

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was fascinated by its "extraordinary harmonic qualities and ... transparent instrumental texture". The opera is composed in what

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was unfortunate in its timing: two weeks after the premiere, in March 1913, Diaghilev presented the first performance of Stravinsky's

657:– roughly "The Hooligans" – to represent their status as "artistic outcasts". The membership was fluid, but at various times included 10923: 10908: 6618: 3773: 2688:

as "a supreme singing-actress, with uncommonly vivid powers of characterization ... and a rare subtlety of colour and phrasing."

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as a boy and said that it was "a revelation, love at first sight" and "probably the most decisive influence I have been subject to".

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Debussy was addressed by various permutations of his names during the course of his life. His name was officially registered at the

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as "an experiment in the different combinations that can be obtained from one colour – what a study in grey would be in painting."

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Newman and other contemporaries did, but much of the music for which Debussy is best known is from the middle years of his career.

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Despite his lack of formal schooling, Debussy read widely and found inspiration in literature. Lesure writes, "The development of

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were first performed. Although they did not make any great impact with the public they were well reviewed by musicians including

309:, who could have had a professional career had he wished, but he was only intermittently diligent in his studies. He advanced to 2321:

also discovered Debussy's music at a young age and said that it gave him his first sense of what modernity in music could mean.

227:, on the north-west fringes of Paris. He was the eldest of the five children of Manuel-Achille Debussy and his wife, Victorine, 10958: 10928: 10913: 6691: 1491: 1003: 709:

stupidity"). He later collected his criticisms with a view to their publication as a book; it was published after his death as

325:: "Ballade à la lune" and "Madrid, princesse des Espagnes". The following year he secured a job as pianist in the household of 10993: 10345: 6851: 6720: 6597: 6578: 6559: 6540: 6519: 6497: 6478: 6433: 6412: 6393: 6351: 6332: 6310: 6291: 6268: 6249: 6230: 6204: 6182: 6135: 6111: 6089: 6050: 6028: 6009: 5987: 5963: 5941: 5920: 5901: 5879: 5853: 5827: 5796: 5777: 5751: 5732: 5692: 5661: 5639: 5620: 5598: 5579: 5560: 5538: 5519: 5497: 5475: 5456: 5413: 5394: 5375: 5353: 5332: 5311: 5292: 5271: 5233: 5214: 5195: 5174: 5152: 5130: 4974: 2503:

In more recent times Debussy's output has been extensively recorded. In 2018, to mark the centenary of the composer's death,

2241:

Debussy with Igor Stravinsky: photograph by Erik Satie, June 1910, taken at Debussy's home in the Avenue du Bois de Boulogne

2225:, and Mallarmé – the last of whom also provided Debussy with the inspiration for one of his most popular orchestral pieces, 475:, and judged it "decidedly the finest thing I know". In 1888 and 1889 he went to the annual festivals of Wagner's operas at 10983: 6884: 3899: 3830: 3495: 3417: 3350: 3008: 2943: 700:, adopting the pen name "Monsieur Croche". He expressed trenchant views on composers ("I hate sentimentality – his name is 7173: 4027: 2725:

expected the ocean, something big, something colossal, but they were served instead with some agitated water in a saucer."

1214: 457:, which made little impact at the time but was successfully republished in 1903 after the composer had become well known. 10805: 7511: 6899: 6735: 6149: 2187: 1567: 447:, the latter concluded, "He is an enigma". During his years in Rome Debussy composed – not for the Academy – most of his 161: 2127:

Debussy's literary inspirations were mostly French, but he did not overlook foreign writers. As well as Maeterlinck for

1177:, inspired by Marie Vasnier, are more virtuosic in character than his later works in the genre, with extensive wordless 10943: 9547: 1933:

Although Debussy was in no doubt of Wagner's stature, he was only briefly influenced by him in his compositions, after

5205:

Cooke, Mervyn (1998). "The East in the West: Evocations of the Gamelan in Western Music". In Bellman, Jonathan (ed.).

2507:, with contributions from other companies, issued a 33-CD set that is claimed to include all the music Debussy wrote. 11003: 10938: 10273: 7306: 6714: 1309: 734:

commented that the opera had "provoked more discussion than any work of modern times, excepting, of course, those of

639: 583: 538: 91: 9499: 2479: 2284:"a terrible bore ... in spite of many wonderful pages") but the two composers knew each other and Stravinsky's 1770:

Nevertheless, there are many indicators of the sources and elements of Debussy's idiom. Writing in 1958, the critic

10978: 10968: 7037: 5570:

Howat, Roy (2011). "Russian imprints in Debussy's piano music". In Antokoletz, Elliott; Wheeldon, Marianne (eds.).

4530: 2613:

became director in 1905 that modern music such as Debussy's or even Wagner's was accepted within the Conservatoire.

1903: 402: 297:

cavalier." A year later he described Debussy as "desperately careless". In July 1874 Debussy received the award of

290: 7216: 1582: 156: 10973: 5889: 5863: 5845: 4005: 2702: 2246: 610:'s poem, was premiered at a concert of the Société Nationale. The following year he completed the first draft of 10494: 10487: 10309: 4792: 2286: 2181: 1966: 10086: 4988: 1354:, written ten years later, has noticeably Debussian features. The academic and journalist Stephen Walsh calls 1334:

In the String Quartet (1893), the gamelan sonorities Debussy had heard four years earlier are recalled in the

1046:("L" followed by a number) is sometimes used as a suffix to their title in concert programmes and recordings. 413:: "The only church music I will accept". He was often depressed and unable to compose, but he was inspired by 2019:), based on the style of the gipsy violinist at a Paris hotel (to whom he gave the manuscript of the piece). 1670: 1201: 1034:, apart from his String Quartet, Op. 10 in G minor (also the only work where the composer's title included a 497: 302: 7413: 266: 10953: 9523: 7637: 7299: 7051: 6666: 6628: 6569:

Wheeldon, Marianne (2011). "Tombeau de Claude Debussy". In Antokoletz, Elliott; Wheeldon, Marianne (eds.).

2792:

He remarked to a colleague that if Wagner, Mozart and Beethoven could come to his door and ask him to play

2500:, who had prepared the orchestration for Debussy. Many of these early recordings have been reissued on CD. 1969:, Debussy escapes the shadow of the older composer and "smilingly relativizes Wagner into insignificance". 1404: 1275: 243: 2399:– "Il pleure dans mon coeur", "L'ombre des arbres" and "Green" – and "Mes longs cheveux", from Act III of 994:, fulfilling his wish to rest "among the trees and the birds"; his wife and daughter are buried with him. 10587: 10515: 9571: 9356: 7391: 7044: 2968: 2661: 1260: 1131: 438:(1887–1888), the first piece in which the stylistic features of his later music began to emerge; and the 7181: 4908: 3588: 3568: 1247: 1161:(1884) which won him the Prix de Rome. A more characteristically Debussian work from his early years is 10743: 10536: 10445: 4387: 2325: 180: 7126: 7058: 6614: 2089:, "You're right, is a masterpiece – but it's not a masterpiece of French music." On the other hand, 1697:

Nigel Simeone comments, "It does not seem unduly far-fetched to see a parallel in Monet's seascapes".

160:

have important parts for chorus. In his final years, he focused on chamber music, completing three of

8840: 7926: 6727: 5608: 5244: 3184: 1864:

explored new sound-worlds of which Debussy made effective use 30 years later. Lesure finds traces of

1223: 648:

her intellectual limitations and lack of musical sensitivity. The marriage lasted barely five years.

555: 482: 410: 17: 6422:

Trezise, Simon (2003). "Introduction & Debussy's 'rhythmicised time'". In Trezise, Simon (ed.).

6080:

Rolf, Marie (2011). "Debussy's Rites of Spring". In Antokoletz, Elliott; Wheeldon, Marianne (eds.).

1802:

include some of the elements identified by Reti. They may also indicate the influence on Debussy of

979: 337:

for von Meck's ensemble, and made a transcription for piano duet of three dances from Tchaikovsky's

10857: 9461: 9007: 8399: 8308: 7208: 6878: 6624: 6121: 4931: 4613:"Signification, Objectification, and the Mimetic Uncanny in Claude Debussy's 'Golliwog's Cakewalk'" 3015:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 18 April 2018 2950:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 16 March 2018 1873: 1304: 754:

In 1903 there was public recognition of Debussy's stature when he was appointed a Chevalier of the

542: 330: 31: 8100: 1399:

for piano (1903) gives impressions of exotic locations, with further echoes of the gamelan in its

888:

Debussy's works began to feature increasingly in concert programmes at home and overseas. In 1910

318: 10893: 10594: 10480: 9663: 9559: 8198: 7504: 7341: 7280: 6770: 6659: 5684: 5327:. Translated by Ashbrook, William; Cobb, Margaret. Oxford and New York: Oxford University Press. 4034:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 16 May 2018 3906:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 18 May 2018 3833:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 18 May 2018 3502:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 18 May 2018 3424:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 18 May 2018 3357:, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 16 May 2018 2193: 2027: 1951: 1881: 1817: 1603: 975: 800: 514: 7240: 3711:

Dietschy (1990), p. 125; Nichols (1998), p. 94; Orledge (2003), p. 21; and Simeone (2000), p. 54

2757:

Respectively, Reflections in the Water, Sounds and Perfumes Swirl in the Evening Air, and Mists.

2206: 926:, a sensational event that monopolised discussion in musical circles, and effectively sidelined 724:, to sing the role, and was incensed when she was passed over in favour of the Scottish soprano 546: 208: 78:; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first 10757: 10721: 10678: 10529: 9607: 8888: 8320: 8224: 8121: 7245: 7118: 6903: 2492: 2150: 1978:(which had been written in 1887) "put their composer on the map" according to the musicologist 1587: 1571: 1351: 607: 559:, which he immediately determined to turn into an opera. He travelled to Maeterlinck's home in 386: 317:

With Marmontel's help Debussy secured a summer vacation job in 1879 as resident pianist at the

262: 232: 191:

at his home in Paris at the age of 55 after a composing career of a little more than 30 years.

86: 79: 6706: 1860: 1155:

commented that Debussy "admirably imitated Massenet's melodic turns of phrase" in the cantata

953: 755: 701: 10657: 10580: 9877: 8770: 8609: 8030: 7954: 7751: 7420: 6992: 6813: 6145: 5708:

Claude Debussy, 1862–1918: Exposition organisée pour commémorer le centenaire de sa naissance

5281:

DeVoto, Mark (2003). "The Debussy sound: colour, texture, gesture". In Trezise, Simon (ed.).

5010: 2375: 2343: 2081: 2031: 1894: 1795: 1726:. Howat suggests that some of Debussy's pieces can be divided into sections that reflect the 1658: 1642: 1430: 912: 220: 204: 112: 9814: 7455: 7200: 7074: 7016: 6845: 2272: 1858:); Howat has written that Chabrier's piano music such as "Sous-bois" and "Mauresque" in the 1550: 1163: 688: 434: 293:, but it is not certain that Debussy, who was apt to skip classes, actually attended these. 265:, where he remained a student for the next eleven years. He first joined the piano class of 150: 131: 10903: 10898: 10714: 10501: 10357: 9217: 7571: 7030: 7001: 6984: 6872: 6832: 5025: 2454:("Jardins sous la pluie" and "Arabesques"). Singers in Debussy's mélodies or excerpts from 2067: 1957: 1914: 1252: 1157: 848: 772: 420:

Debussy finally composed four pieces that were submitted to the Academy: the symphonic ode

377: 334: 250:, Debussy's pregnant mother took him and his sister Adèle to their paternal aunt's home in 9800: 9252: 7165: 5673: 5005: 2267: 2214: 1919: 1185: 453: 8: 10823: 10559: 10016: 10009: 9595: 9391: 9305: 9224: 8979: 8972: 8728: 7919: 7621: 7441: 7322: 6797: 6214: 5837: 2336:

and the critic Rupert Christiansen detects the influence of the work in Benjamin's opera

2245:

Debussy is widely regarded as one of the most influential composers of the 20th century.

2155: 2132: 1633: 1416: 1315: 1189:(1885–1887) onwards he developed a more restrained style. He wrote his own poems for the 829: 816: 675: 634: 550: 247: 106: 9583: 8847: 7096: 2649: 2342:(2012). Others have made orchestrations of some of the piano and vocal works, including 1872:

in some of Debussy's early songs, and remarks that it may have been from the Russians –

1562: 991: 597:

In terms of musical recognition, Debussy made a step forward in December 1894, when the

574: 401:

not to his taste. He was much more impressed by the music of the 16th-century composers

236: 148:

poetic movement of the later 19th century. A small number of works, including the early

135: 10732: 10543: 10438: 10395: 10333: 10321: 10237: 9912: 9870: 9468: 9203: 9021: 8560: 8546: 8441: 8296: 8272: 8156: 7742: 7497: 7250: 6448: 6423: 6383: 6363: 6280: 5977: 5343: 5282: 1988: 1927: 1808: 1731: 1347: 1152: 963: 922: 833: 472: 467: 144:

based on a wide variety of poetry, including his own. He was greatly influenced by the

10261: 10169: 10023: 5649: 5342:

Donnellon, Déirdre (2003). "Debussy as musician and critic". In Trezise, Simon (ed.).

4133: 2467: 2222: 1465: 1370:

style, with "sensuous, intimate" vocal lines. It influenced composers as different as

1039: 746: 10466: 10369: 10106: 10058: 10030: 9937: 9898: 9863: 9693: 9161: 9133: 8993: 8686: 8602: 8504: 8469: 8236: 8016: 7982: 7473: 7427: 7067: 6976: 6968: 6944: 6593: 6574: 6555: 6536: 6515: 6507: 6493: 6474: 6468: 6455: 6429: 6408: 6389: 6370: 6347: 6328: 6306: 6287: 6264: 6245: 6226: 6200: 6192: 6178: 6157: 6131: 6126: 6107: 6085: 6068: 6046: 6024: 6005: 5983: 5959: 5937: 5916: 5897: 5875: 5849: 5823: 5792: 5773: 5747: 5728: 5711: 5688: 5657: 5635: 5616: 5594: 5575: 5556: 5534: 5515: 5493: 5471: 5452: 5435: 5428: 5409: 5390: 5371: 5349: 5328: 5322: 5307: 5288: 5267: 5250: 5229: 5210: 5191: 5170: 5148: 5126: 5045: 2076: 2059: 2011: 1889: 1885: 1851: 1674: 1241: 882: 878: 721: 525:, who proved a kindred spirit in his experimental approach to composition. Both were 476: 406: 394: 326: 261:

Debussy's talents soon became evident, and in 1872, aged ten, he was admitted to the

188: 10840: 9772: 7863: 7346: 2796:

to them, he would gladly do so, but if it were Bach, he would be too in awe to dare.

2609:, was a deeply conservative musician, as were most of his faculty. It was not until 615: 305:

at the Conservatoire's annual competition. He was a fine pianist and an outstanding

10781: 10699: 10692: 10431: 10211: 10120: 10113: 10044: 9946: 9856: 9709: 9619: 9511: 9405: 9398: 9231: 9056: 9014: 8833: 8749: 8644: 8553: 8413: 8385: 8000: 7870: 7835: 7828: 7793: 7708: 7601: 7434: 7396: 7386: 7381: 7361: 7255: 7134: 7009: 6936: 6890: 6805: 6320: 6174: 5363: 5037: 4803:, ed. Tim Rutherford-Johnson, Oxford University Press, 2012, retrieved 17 May 2018 2653: 2487: 2310: 2258: 2210: 2202: 2002: 1979: 1791: 1787: 1654: 1608: 1556: 1359: 1321: 1235: 958: 901: 842: 805: 696: 322: 176: 172: 126: 9905: 9807: 8651: 8637: 8630: 8455: 7814: 6219: 5766: 5118: 2734:

He described the symphonies of Schumann and Mendelssohn as "respectful repetition"

2610: 2423: 986:

bombarded the city. Debussy's body was reinterred the following year in the small

768: 662: 623: 465:

A week after his return to Paris in 1887, Debussy heard the first act of Wagner's

41: 10685: 10636: 10622: 10615: 10176: 10079: 9891: 9884: 9786: 9758: 9730: 9682: 9535: 9454: 9426: 9321: 9245: 9196: 9084: 9049: 8937: 8930: 8874: 8826: 8735: 8623: 8476: 8448: 8248: 8170: 8163: 8142: 8079: 8037: 7947: 7940: 7898: 7842: 7733: 7262: 6754: 6454:. Translated by O'Brien, Maire; O'Brien, Grace. Oxford: Oxford University Press. 6065:

Tonality–Atonality–Pantonality: A Study of Some Trends in Twentieth Century Music

6038: 5951: 5931: 5808: 5761: 5485: 5185: 5097: 4992: 4981: 4958: 4938: 4915: 4619: 4534: 4394: 4140: 4031: 4012: 3903: 3635: 3499: 3421: 3354: 3191: 3119: 3012: 2975: 2947: 2745: 2645: 2637: 2622:

Debussy's regard for Rimsky-Korsakov's music was not reciprocated. After hearing

2606: 2504: 2475: 2451: 2439: 2422:

Contemporaries of Debussy who made recordings of his music included the pianists

2338: 2277: 2176: 2136: 2055: 2051: 2023: 1855: 1840:"Chabrier, Moussorgsky, Palestrina, voilà ce que j'aime" – they are what I love. 1746: 1693:"the greatest example of an orchestral Impressionist work", and more recently in 1666: 1597: 1461: 1375: 1371: 1018: 971: 870: 735: 670: 666: 591: 274: 74: 9328: 9147: 8923: 8427: 7779: 5041: 4280:"Debussy's Orchestral Collaborations, 1911–13. 1: Le martyre de Saint-Sébastien" 3896: 3492: 3414: 3347: 3005: 2940: 2497: 2251: 1942: 1592: 803:

in July and August, where Debussy corrected the proofs of his symphonic sketches

771:

a few years earlier. After despatching Lilly to her parental home at Bichain in

619: 614:

and began efforts to get it staged. In May 1898 he made his first contacts with

286: 282: 10643: 10573: 10566: 10508: 10452: 10422: 10285: 10197: 10127: 10072: 10051: 9974: 9967: 9960: 9821: 9779: 9765: 9702: 9447: 9440: 9419: 9412: 9363: 9342: 9335: 9098: 8909: 8902: 8881: 8865: 8798: 8784: 8672: 8511: 8490: 8483: 8406: 8392: 8378: 8260: 8128: 8009: 7989: 7968: 7905: 7765: 7535: 7478: 6928: 6301:

Simeone, Nigel (2008). "France and the Mediterranean". In Cooke, Mervyn (ed.).

5997: 5973: 5507: 5167:

Entretiens de Pierre Boulez, 1983–2013, recueillis par Bruno Serrou (in French)

4024: 2810: 2780: 2706: 2641: 2483: 2359: 2351: 2171: 2121: 2079:, both born Jewish. In 1912 Debussy had remarked to his publisher of the opera 2047: 1877: 1869: 1865: 1813: 1779: 1705: 1411:(1905); this uses a quasi-symphonic form, its three sections making up a giant 1229: 1194: 1008:

In a survey of Debussy's oeuvre shortly after the composer's death, the critic

987: 788: 705: 684: 598: 444: 425: 398: 356: 278: 117: 9259: 8916: 8581: 8191: 8072: 6443: 5439: 3629:"Maeterlinck's Mistress Assumed She Was Going to Sing Melisande. But ..." 2715:

in early January 1905, stated that Lilly had made a second attempt at suicide.

1974: 10887: 10664: 10629: 10522: 10204: 10148: 10134: 9981: 9842: 9744: 9737: 9723: 9433: 9314: 9182: 9077: 9035: 8986: 8819: 8812: 8777: 8742: 8693: 8665: 8588: 8184: 8114: 8086: 8058: 7961: 7877: 7821: 7807: 7800: 7786: 7694: 7674: 7592: 7564: 7351: 6952: 6459: 6382:

Timbrell, Charles (2003). "Debussy in Performance". In Trezise, Simon (ed.).

6374: 6161: 6099: 6072: 5867: 5819: 5715: 5254: 5162: 5091:" Debussy: The Complete Works review – a comprehensive and invaluable survey" 5049: 2978:, Saint Germain en Laye municipal website, retrieved 12 June 2018 (in French) 2558: 2463: 2435: 2370: 2318: 2218: 2090: 2072: 2040:). His relationship to Beethoven was complex; he was said to refer to him as 1646: 1327: 1296: 1009: 932: 889: 658: 448: 306: 255: 224: 8944: 7849: 7612: 2904:

Lesure, p. 4; Fulcher, p. 101; Lockspeiser, p. 235; and Nichols (1998), p. 3

2197:

did not progress beyond sketches. French writers whose words he set include

1595:

in orchestrating and arranging the score. Two late stage works, the ballets

828:, Debussy's most substantial orchestral work, was premiered in Paris by the 10793: 10769: 10459: 10297: 10190: 10162: 10097: 10065: 10037: 10002: 9995: 9988: 9953: 9919: 9835: 9793: 9651: 9640: 9630: 9377: 9349: 9287: 9280: 9266: 9238: 9210: 9175: 9168: 9140: 9126: 9112: 9091: 9000: 8958: 8951: 8791: 8763: 8714: 8700: 8574: 8539: 8434: 8420: 8357: 8284: 8177: 8135: 7933: 7758: 7376: 6060: 5815: 2471: 2459: 2447: 2408: 2298: 2198: 1771: 1727: 1650: 1628: 1624: 1607:(1913), were left with the orchestration incomplete, and were completed by 916:, premiered the following year, were the composer's last orchestral works. 759: 382: 369: 199: 167:

With early influences including Russian and Far Eastern music and works by

8679: 6278:

Simeone, Nigel (2007). "Debussy and Expression". In Trezise, Simon (ed.).

4952:"Written on Skin is one of the operatic masterpieces of our time – review" 2779:

Debussy examined some existing editions, and chose to base his on that of

2237: 1358:(begun 1893, staged 1902) "a key work for the 20th century". The composer 939: 351: 10671: 10552: 10411: 10402: 10218: 10141: 9189: 9154: 9070: 9063: 8805: 8707: 8595: 8525: 8462: 8339: 8205: 8065: 8023: 7975: 7912: 7891: 7884: 7856: 7772: 7715: 7555: 7234: 7081: 6639: 5703: 5423: 5266:. Translated by Nichols, Roger. Cambridge, MA: Harvard University Press. 2814: 2657: 2404: 2373:

believes that Debussy's influence also extends to jazz and suggests that

1946: 1775: 1723: 1412: 1197:, "his literary talents were not on a par with his musical imagination". 1035: 1031: 837: 810: 763: 725: 716:

In January 1902 rehearsals began at the Opéra-Comique for the opening of

653: 526: 414: 4519: 10601: 10155: 9926: 9849: 9828: 9716: 9384: 9370: 9119: 9105: 9042: 8965: 8854: 8721: 8658: 8518: 8348: 8149: 8107: 8044: 7701: 5727:(Second ed.). Cambridge and New York: Cambridge University Press. 5656:. Translated by Rolf, Marie. Rochester: University of Rochester Press. 5140: 4429: 2806: 2380: 2293:

In the aftermath of the First World War, the young French composers of

2120:

poets. These writers, who included Verlaine, Mallarmé, Maeterlinck and

2113: 2102: 2086: 1803: 1540: 1457: 1400: 1367: 1363: 1339: 1267:, as a transitional work pointing towards the composer's mature style. 1143: 853: 680: 522: 184: 116:(1905–1912). His music was to a considerable extent a reaction against 7291: 4825: 4780:, ed Dinah Birch, Oxford University Press, 2009 retrieved 7 May. 2018 4758: 4279: 4246: 4213: 4047: 3967: 3530: 3066: 1173: 852:

suite). She outlived her father by scarcely a year, succumbing to the

270: 140: 10650: 10608: 10473: 10183: 9273: 9028: 8895: 8616: 8567: 8532: 8093: 7520: 7157: 5548: 3558:

Nectoux, pp. 43–44 (Saint-Saëns) and pp. 263–267 (Messager and Fauré)

2766: 2711: 2165: 2117: 1907: 1719: 1701: 1645:

writes that Impressionism was originally a term coined to describe a

1570:. His fatal illness prevented him from completing the set, but those 1335: 983: 948: 780: 730: 339: 145: 3042:

Lockspeiser, pp. 20–21; Walsh (2003), Chapter 1; and Jensen, pp. 7–8

2748:, the finest creator of mysterious effects in all the world of art." 8497: 8364: 7722: 7683: 7667: 7653: 7544: 6960: 4985: 1997: 1575: 1395: 1389:". Orledge considers the last a pre-echo of the marine textures of 1179: 1168: 792: 582:

In February 1894 Debussy completed the first draft of Act I of his

509: 124:

as obsolete and sought an alternative in his "symphonic sketches",

121: 10874: 6467:

Walsh, Stephen (1997). "Claude Debussy". In Holden, Amanda (ed.).

3801:– Suite of three symphonic pictures: its virtues and its faults", 1440:(1913). The former follows the tripartite form established in the 10249: 9294: 8756: 8371: 7660: 7644: 7630: 6651: 5262:

Debussy, Claude (1987). Lesure, François; Nichols, Roger (eds.).

2294: 1783: 1407:(1888) was more to his liking, and its influence can be found in 1343: 530: 504: 373: 4520:"The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier" 1730:, which is approximated by ratios of consecutive numbers in the 7578: 7023: 2554: 2529: 2062:, the latter being described as a "facile and elegant notary". 784: 776: 673:. In the same year the first two of Debussy's three orchestral 622:, respectively the musical director and general manager of the 251: 168: 3185:"An introduction to the solo piano music of Debussy and Ravel" 2697:

A fictionalised and melodramatic dramatisation of the affair,

2474:; and among the conductors in the major orchestral works were 1854:

was an important influence on Debussy (as he was on Ravel and

1673:. With the latter in mind the composer wrote to the violinist 775:

on 15 July 1904, Debussy took Emma away, staying incognito in

10799: 2007: 1822: 1038:). His works were catalogued and indexed by the musicologist 563:

in November to secure his consent to an operatic adaptation.

560: 162:

six planned sonatas for different combinations of instruments

54: 10764: 7489: 6635: 2591:

In September 1880 von Meck sent the manuscript of Debussy's

289:. The course included music history and theory studies with 120:

and the German musical tradition. He regarded the classical

8051: 7585: 6762: 4388:"Strength in numbers: How Fibonacci taught us how to swing" 2191:. Another project inspired by Poe – an operatic version of 1436: 906: 501: 6144: 873:; in May he was present at the first London production of 820:

Debussy's last home, now 23 Square de l'Avenue Foch, Paris

5187:

Debussy Redux: The Impact of his Music on Popular Culture

4984:, Boosey & Hawkes, 2016, retrieved 2 June 2018; and 4745:, Oxford University Press, 2015, retrieved 13 June 2018 2438:(numerous solo pieces as well as the Violin Sonata with 1750:

Improvised chord sequences played by Debussy for Guiraud

1586:(1911), originally a five-act musical play to a text by 1460:

scale he had often favoured previously in favour of the

301:

for his performance as soloist in the first movement of

7110: 6045:. Translated by Harding, James. London: Dennis Dobson. 4313:, Oxford University Press, 2011, retrieved 17 May 2018 4081:, Oxford University Press, 2011, retrieved 21 May 2018 1085:

Composed in 1890, performed by Laurens Goedhart in 2011

6023:. Cambridge and New York: Cambridge University Press. 2280:

was more ambivalent about Debussy's music (he thought

1961:, contains a parody of music from the introduction to 836:; the reception was mixed. Some praised the work, but 10741: 4975:"Debussy orchestrations point towards 2018 centenary" 2809:, other jazz musicians influenced by Debussy include 5976:(2003). "Debussy the Man". In Trezise, Simon (ed.). 4046:

Jean-Aubry, Georges. (trans. Frederick H. Martens).

3575:, Oxford University Press, retrieved 21 August 2010 2332:

as "the definition of perfection"; he has conducted

1289:

Musicians from Debussy's time onwards have regarded

1193:(1892–1893) but, in the view of the musical scholar 783:

in Normandy. He wrote to his wife on 11 August from

9488:

A Sunday Afternoon on the Island of La Grande Jatte

6590:

Debussy's Legacy and the Construction of Reputation

5936:. New Haven, CN and London: Yale University Press. 3594:, Oxford University Press, retrieved 19 March 2011 6447: 6362: 6303:The Cambridge Companion to Twentieth-Century Opera 6279: 6218: 5807: 5765: 5672: 5427: 2922:Lockspeiser, p. 6; Jensen, p. 4; and Lesure, p. 85 566: 3659:, Oxford University Press, retrieved 18 May 2018 3061: 3059: 3057: 1637:(1872), from which "Impressionism" takes its name 691:. The complete set was given the following year. 10885: 5848:(trans). Cambridge: Cambridge University Press. 5789:Satie the Bohemian: From Cabaret to Concert Hall 5615:. Oxford and New York: Oxford University Press. 5492:. Rochester, NY: University of Rochester Press. 4932:"George Benjamin–Conductor, Composer and Knight" 2510: 1026:music might be relevant to the twentieth century 235:, and, from 1868, in their own apartment in the 130:(1903–1905). His piano works include sets of 24 5872:The New Grove Dictionary of Music and Musicians 5451:. New York: Britannica Educational Publishing. 5422: 5080:Notes to Warner Classics CD 190295642952 (2018) 4469: 4467: 4373:Vallas, p. 225. The interview was published in 4015:, Gresham College, 2008, retrieved 18 June 2018 2232: 1965:, in which, in the opinion of the musicologist 970:Debussy died on 25 March 1918 at his home. The 956:, who in a letter to Fauré condemned Debussy's 881:. In the same year, Debussy was diagnosed with 6647:Website of Debussy museum, St. Germain-en-Laye 5449:The 100 Most Influential Musicians of All Time 4761:, Music & Letters, July 1932, pp. 298–311 3054: 2290:(1920) was written as a memorial for Debussy. 2185:and later sketched the libretto for an opera, 1017:experience". In 1988 the composer and scholar 947:In 1915 Debussy underwent one of the earliest 381:. The Prix carried with it a residence at the 30:"Debussy" redirects here. For other uses, see 7505: 7307: 6824: 6667: 6106:. Cambridge, Mass: Harvard University Press. 5786: 4941:, Dutch National Opera, retrieved 2 June 2018 3488: 3486: 2959:Lockspeiser, p. 6; and Trezise (2003), p. xiv 2006:(Debussy's spelling) (1909), but by the slow 1665:Among painters, Debussy particularly admired 1578:in nature than some of his other late works. 885:, from which he was to die nine years later. 10420: 10409: 7610: 7599: 7553: 7542: 6535:. Berkeley: University of California Press. 6327:. Berkeley: University of California Press. 4464: 3892: 3890: 3888: 3826: 3824: 3484: 3482: 3480: 3478: 3476: 3474: 3472: 3470: 3468: 3466: 3410: 3408: 3406: 3404: 3402: 3343: 3341: 3339: 3337: 3335: 2346:'s version of four of the Baudelaire songs ( 2041: 2035: 1619: 1548:Among the late piano works are two books of 974:was still raging and Paris was under German 813:), Debussy's home for the rest of his life. 594:, hitherto one of his strongest supporters. 10934:20th-century French male classical pianists 10919:19th-century French male classical pianists 7681: 5722: 5670: 5468:Debussy: An Introduction to his Piano Music 5169:. Château-Gontier: Éditions Aedam Musicae. 4448: 4446: 3774:"23 Square Avenue Foch 75116 Paris, France" 3520:Nichols (1977), p. 20; and Orenstein, p. 28 2936: 2934: 2932: 2930: 2928: 1704:eulogy to Nature, in a 1911 interview with 1263:(1890), the third of the four movements of 533:; in July 1893 they began living together. 7512: 7498: 7314: 7300: 6674: 6660: 5710:(in French). Bordeaux: Ville de Bordeaux. 5701: 4778:The Oxford Companion to English Literature 2034:, whom he called the "good God of music" ( 1647:style of late 19th-century French painting 1270: 6619:International Music Score Library Project 6554:. Bloomington: Indiana University Press. 6506: 6428:. Cambridge: Cambridge University Press. 6407:. Cambridge: Cambridge University Press. 6388:. Cambridge: Cambridge University Press. 6305:. Cambridge: Cambridge University Press. 6286:. Cambridge: Cambridge University Press. 6213: 5982:. Cambridge: Cambridge University Press. 5950: 5915:. Cambridge: Cambridge University Press. 5741: 5555:. Cambridge: Cambridge University Press. 5553:Debussy in Proportion: A Musical Analysis 5446: 5408:. Princeton: Princeton University Press. 5389:. Bloomington: Indiana University Press. 5348:. Cambridge: Cambridge University Press. 5341: 5287:. Cambridge: Cambridge University Press. 5209:. Boston: Northeastern University Press. 5190:. Bloomington: Indiana University Press. 4626:, Fall 2010, p. 8, retrieved 15 June 2018 3885: 3821: 3463: 3415:"From L'aprés-midi d'un faune to Pelléas" 3399: 3332: 1049: 6587: 6568: 6549: 6381: 6360: 6341: 6319: 6239: 5866:(1980). "Debussy, (Achille-)Claude". In 5746:. Lanham, MA: Rowman & Littlefield. 5506: 5484: 5362: 5320: 5117: 4661: 4659: 4571: 4569: 4443: 4360: 4358: 4286:, December 1974, pp. 1030–1033 and 1035 3606:Debussy (1962), pp. 4, 12–13, 24, 27, 59 3311:Nectoux, p. 39; and Donnellon, pp. 46–47 2925: 2891: 2889: 2887: 2885: 2883: 2881: 2879: 2877: 2875: 2873: 2871: 2869: 2867: 2865: 2236: 2101: 1762:Chords from dialogue with Ernest Guiraud 1753: 1745: 1700:In this context may be placed Debussy's 1623: 1423: 1366:describes as a sustained and heightened 1299:observed, "Modern music was awakened by 1274: 962:: "It's incredible, and the door of the 938: 815: 750:Emma Bardac (later Emma Debussy) in 1903 745: 628: 573: 481: 460: 350: 198: 40: 10964:Deaths from colorectal cancer in France 7321: 6421: 6402: 6300: 6277: 6258: 6191: 6037: 5972: 5929: 5910: 5888: 5862: 5836: 5760: 5607: 5465: 5403: 5387:Ignaz Friedman: Romantic Master Pianist 5261: 5242: 5030:Jazz Education in Research and Practice 4995:, Colin Matthews, retrieved 2 June 2018 4743:The Oxford Dictionary of Literary Terms 4301: 4299: 4297: 4295: 4187: 4185: 4114:Sackville-West and Shawe Taylor, p. 214 4101: 4099: 3793: 3791: 3454: 2863: 2861: 2859: 2857: 2855: 2853: 2851: 2849: 2847: 2845: 2819:Jazz Education in Research and Practice 2685:Grove Dictionary of Music and Musicians 239:. Manuel worked in a printing factory. 14: 10886: 6442: 6168: 6018: 5996: 5805: 5648: 5588: 5533:. London and New York: Omnibus Press. 5528: 5301: 5280: 5161: 5023: 5014:, 10 April 2018, retrieved 3 June 2018 4257:, No 1, 1990, pp. 133–134 (in French) 4208: 4206: 4166: 4164: 4162: 4069: 4067: 4065: 4063: 4042: 4040: 3836: 3719: 3717: 3623: 3621: 2163:(1888). He wrote incidental music for 1004:List of compositions by Claude Debussy 219:Debussy was born on 22 August 1862 in 10346:Six Characters in Search of an Author 7493: 7295: 7089:Hommage à S. Pickwick Esq. P.P.M.P.C. 6852:Rhapsodie for saxophone and orchestra 6655: 6592:. New York: Oxford University Press. 6573:. New York: Oxford University Press. 6487: 6466: 6325:Stravinsky and the Russian Traditions 6098: 6084:. New York: Oxford University Press. 5768:Romanticism and the Twentieth Century 5671:Lesure, François; Howat, Roy (2001). 5629: 5574:. New York: Oxford University Press. 5569: 5547: 5384: 5204: 5183: 5139: 4656: 4566: 4539: 4509:Orenstein, p. 219; and Poulenc, p. 54 4355: 4230: 3962: 3960: 3958: 3956: 3954: 3952: 3950: 3948: 3179: 3177: 3001: 2999: 2997: 2995: 2993: 2146:Hommage à S. Pickwick Esq. P.P.M.P.C. 1167:, recasting the traditional form for 626:, Paris, about presenting the opera. 73: 27:French classical composer (1862–1918) 10999:Pupils of Antoine François Marmontel 10806: 6885:Dances for Harp and String Orchestra 6530: 6344:Music in the Early Twentieth Century 6263:. New Haven: Yale University Press. 6120: 6079: 6059: 5654:Claude Debussy: A Critical Biography 5246:Monsieur Croche the Dilettante Hater 4786: 4430:"Debussy and the Crisis of Tonality" 4292: 4182: 4150: 4096: 3788: 3587:Schwartz, Manuela and G.W. Hopkins. 2842: 2270:while he was writing his 1921 opera 2139:for two of his Préludes for piano – 1910:-like quality in the melodic lines. 1468:describes as its tonal ambiguities. 1042:in 1977 (revised in 2003) and their 183:, and the jazz pianist and composer 6920: 6900:Six sonatas for various instruments 6346:. Oxford: Oxford University Press. 6171:Conversations with Olivier Messiaen 5791:. Oxford: Oxford University Press. 5593:. Oxford: Oxford University Press. 5426:; Biancolli, Louis Leopold (1951). 5223: 4203: 4159: 4060: 4037: 3714: 3618: 3126:, 15 August 1908, p. 98 (in French) 2770:illuminated from different angles". 2605:The director of the Conservatoire, 1982:, and the Sarabande from Debussy's 1941:(both begun in 1887). According to 1926:(1889–1891). In 1914 the publisher 1568:six sonatas for various instruments 1134:performed in 2016 by Patrizia Prati 513:. He also attended two concerts of 98:Debussy's orchestral works include 24: 9548:Nude Descending a Staircase, No. 2 6681: 6450:Claude Debussy: His Life and Works 6425:The Cambridge Companion to Debussy 6385:The Cambridge Companion to Debussy 6282:The Cambridge Companion to Debussy 6225:. New York: Simon & Schuster. 5979:The Cambridge Companion to Debussy 5634:. Milton Keynes: Open University. 5434:. New York: Simon & Schuster. 5345:The Cambridge Companion to Debussy 5306:. Hillsdale, NY: Pendragon Press. 5284:The Cambridge Companion to Debussy 3945: 3174: 2990: 2430:and "La soirée dans Grenade" from 1734:. Simon Trezise, in his 1994 book 1695:The Cambridge Companion to Debussy 1677:in 1894 describing the orchestral 1539:Problems playing these files? See 1473: 1142:Problems playing these files? See 1056: 936:, which had opened a week before. 194: 25: 11015: 10989:People from Saint-Germain-en-Laye 7449:Prélude à l'après-midi d'un faune 7174:Cinq poèmes de Charles Baudelaire 6840:Fantaisie for piano and orchestra 6790:Prélude à l'après-midi d'un faune 6608: 6197:The Piano Works of Claude Debussy 2833: 2636:Other members were the composers 2570:That is, fourth prize, after the 2379:can be heard in the harmonies of 2330:Prélude à l'après-midi d'un faune 2227:Prélude à l'après-midi d'un faune 1996:and other piano pieces featuring 1986:(1901) "shows that knew Satie's 1669:, but also drew inspiration from 1434:(1905–1912) is better known than 1301:Prélude à l'après-midi d'un faune 1292:Prélude à l'après-midi d'un faune 1215:Cinq poèmes de Charles Baudelaire 904:commissioned a new ballet score, 898:Prélude à l'après-midi d'un faune 863:Prélude à l'après-midi d'un faune 603:Prélude à l'après-midi d'un faune 138:. Throughout his career he wrote 101:Prélude à l'après-midi d'un faune 10924:20th-century classical composers 10909:19th-century classical composers 10866: 10849: 10832: 10815: 10787: 10775: 10763: 10751: 10728: 10727: 7360: 7276: 7275: 6719: 6199:. New York: Dover Publications. 5772:. London: Barrie & Jenkins. 5368:Claude Debussy, Master of Dreams 5304:Debussy and the Veil of Tonality 5083: 5074: 5065: 5056: 5017: 4998: 4968: 4944: 4925: 4901: 4892: 4883: 4874: 4865: 4856: 4847: 4838: 4818: 4809: 4767: 4751: 4731: 4722: 4713: 4704: 4695: 4686: 4677: 4668: 4647: 4638: 4629: 4605: 4596: 4587: 4578: 4557: 4548: 4512: 4503: 4494: 4485: 4476: 4455: 4422: 4413: 4404: 4380: 4367: 4346: 4337: 4328: 4319: 4272: 4263: 4251:. Poème dansé by Claude Debussy" 4239: 4194: 4173: 4126: 4117: 4108: 4087: 4018: 4006:Debussy Quartet in G minor Op 10 3998: 3989: 3980: 2799: 2786: 2773: 2760: 2751: 2737: 2728: 1741: 1521: 1498: 1120: 1099: 1075: 976:aerial and artillery bombardment 291:Louis-Albert Bourgault-Ducoudray 10949:Knights of the Legion of Honour 6244:. Wisconsin: Hal Leonard Corp. 6041:(1978). Audel, Stéphane (ed.). 5787:Moore Whiting, Stephen (1999). 5589:Jensen, Eric Frederick (2014). 3936: 3927: 3918: 3909: 3872: 3863: 3854: 3845: 3812: 3766: 3757: 3748: 3739: 3726: 3705: 3696: 3687: 3678: 3671:"Music: Pelléas et Mélisande", 3665: 3645: 3609: 3600: 3581: 3561: 3552: 3543: 3523: 3514: 3505: 3445: 3436: 3427: 3390: 3381: 3369: 3360: 3323: 3314: 3305: 3296: 3287: 3278: 3269: 3260: 3251: 3242: 3233: 3224: 3215: 3206: 3197: 3165: 3156: 3147: 3138: 3129: 3106: 3097: 3088: 3079: 3045: 3036: 3027: 3018: 2981: 2718: 2691: 2676: 2667: 2630: 2616: 2599: 2585: 2564: 2546: 2537: 2266:, were the subject of study by 1428:Of the later orchestral works, 1030:Debussy did not give his works 711:Monsieur Croche, Antidilettante 346: 10495:Grosvenor School of Modern Art 10488:Fourth dimension in literature 6369:. New York: Tudor Publishing. 4801:The Oxford Dictionary of Music 3878:"M. Debussy at Queen's Hall", 2962: 2953: 2916: 2907: 2898: 2521: 2287:Symphonies of Wind Instruments 2182:The Fall of the House of Usher 2169:and planned an opera based on 2085:by the (also Jewish) composer 2026:and Stravinsky, respectful of 1898:directly influenced Debussy's 1464:with what the Debussy scholar 303:Chopin's Second Piano Concerto 13: 1: 10959:Conservatoire de Paris alumni 10929:20th-century French composers 10914:19th-century French composers 7519: 7217:Le Martyre de saint Sébastien 6625:Free scores by Claude Debussy 6615:Free scores by Claude Debussy 6492:. London: Faber & Faber. 5896:. London: Faber & Faber. 5842:Gabriel Fauré: A Musical Life 5822:. London: The Harvill Press. 5723:Lockspeiser, Edward (1978) . 5447:Gorlinski, Gini, ed. (2009). 5165:(2017). Serrou, Bruno (ed.). 4719:Taruskin (2010), pp. 105–106. 4440:; and Lockspeiser, Appendix B 4377:magazine on 11 February 1911. 4311:The Oxford Companion to Music 4218:: Playing with Time and Form" 4079:The Oxford Companion to Music 2827: 2817:, according to an article in 2511:Notes, references and sources 2386: 2324:Among contemporary composers 1828: 1583:Le Martyre de saint Sébastien 1251:. Newman remarked that, like 487: 277:and, later, composition with 214: 157:Le Martyre de saint Sébastien 47: 10994:Prix de Rome for composition 6629:Choral Public Domain Library 6533:Claude Debussy and the Poets 6177:. London: Stainer and Bell. 5744:Twilight of the Belle Epoque 5490:Claude Debussy as I knew him 5324:A Portrait of Claude Debussy 5125:. Paris: Editions du Seuil. 4795:, and Joyce Bourne Kennedy. 4759:"The Symbolists and Debussy" 4054:, October 1918, pp. 542–554 3968:"The Development of Debussy" 3842:Garden and Biancolli, p. 302 3531:"Stravinsky and the Apaches" 3194:, BBC, retrieved 15 May 2018 2969:Maison Natale Claude-Debussy 2233:Influence on later composers 741: 539:Société Nationale de Musique 498:Paris Exposition Universelle 7: 10984:French male opera composers 10588:List of avant-garde artists 9572:The Cabinet of Dr. Caligari 7045:La fille aux cheveux de lin 6736:La chute de la maison Usher 6588:Wheeldon, Marianne (2017). 6550:Wheeldon, Marianne (2009). 6514:. New York: Da Capo Press. 6490:Debussy: A Painter in Sound 6261:Paris – A Musical Gazetteer 5674:"Debussy, (Achille-)Claude" 5207:The Exotic in Western Music 5042:10.2979/jazzeducrese.2.1.06 4832:December 1998, pp. 395–397 4653:Debussy (1962), pp. 121–123 4482:Taruskin (2010), pp. 70–73. 4075:"Debussy, (Achille-)Claude" 3915:Simeone (2008), pp. 125–126 3113:"Concours du Conservatoire" 2188:La chute de la maison Usher 2107:S. Pickwick Esq. P.P.M.P.C. 2097: 1850:Among French predecessors, 1493:La fille aux cheveux de lin 1224:consonances and dissonances 10: 11020: 10446:Classical Hollywood cinema 7414:Cydalise et le Chèvre-pied 7038:Ce qu'a vu le vent d'ouest 6342:Taruskin, Richard (2010). 5725:Debussy: His Life and Mind 5110: 4644:Taruskin (2010), pp. 69–70 3675:, 22 May 1909, p. 13 2301:wrote in 1918: "Enough of 1833: 1825:style because I know it." 1611:and Caplet, respectively. 1483:Pieces from first book of 1204:wrote that, together with 1202:Jacques-Gabriel Prod'homme 1001: 267:Antoine François Marmontel 29: 10944:Burials at Passy Cemetery 10709: 10387: 10228: 10096: 9936: 9692: 9681: 9524:Les Demoiselles d'Avignon 9478: 9304: 8864: 8347: 8338: 8215: 7999: 7741: 7732: 7527: 7466: 7405: 7369: 7358: 7329: 7271: 7227: 7192: 7149: 6913: 6865: 6781: 6746: 6728:Le diable dans le beffroi 6698: 6689: 6240:Siepmann, Jeremy (1998). 6130:. London: Fourth Estate. 5630:Jones, J. Barrie (1979). 5466:Halford, Margery (2006). 5321:Dietschy, Marcel (1990). 5243:Debussy, Claude (1962) . 4797:"Debussy, Achille‐Claude" 4224:, Summer 1982, pp. 60–75 3763:Nichols (2011), pp. 58–59 3651:Turnbull, Michael T.R.B. 3615:Debussy (1962), pp. 3–188 3569:"Fauré, Gabriel (Urbain)" 3537:, June 1982, pp. 403–407 3011:26 September 2014 at the 2480:Désiré-Émile Inghelbrecht 2426:(in "Poissons d'or" from 2037:le Bon Dieu de la musique 1939:Cinq poèmes de Baudelaire 1634:Impression, soleil levant 1620:Debussy and Impressionism 1508:Performed by Mike Ambrose 11004:Pupils of Ernest Guiraud 10939:Ballets Russes composers 8309:The Master and Margarita 7111:Four hands or two pianos 6361:Thompson, Oscar (1940). 6021:Four Musical Minimalists 5930:Nichols, Roger (2011) . 5742:McAuliffe, Mary (2014). 5226:Debussy Orchestral Music 4871:Taruskin (2010), p. 469. 4611:De Martelly, Elizabeth. 4436:, September 1979, p. 71 4305:Langham Smith, Richard. 3974:, May 1918, pp. 119–203 3420:17 November 2017 at the 3353:17 November 2017 at the 2895:Lesure & Howat, 2001 2515: 2395:from the Verlaine cycle 1614: 1405:symphony by César Franck 997: 428:); the orchestral piece 75:[aʃilkloddəbysi] 32:Debussy (disambiguation) 10979:Impressionist composers 10969:French ballet composers 10595:List of modernist poets 10481:Fourth dimension in art 9664:Meshes of the Afternoon 7127:Six épigraphes antiques 7059:La cathédrale engloutie 7052:La sérénade interrompue 6488:Walsh, Stephen (2018). 6470:The Penguin Opera Guide 6403:Trezise, Simon (1994). 6365:Debussy, Man and Artist 6259:Simeone, Nigel (2000). 6169:Samuel, Claude (1976). 5956:Ravel: Man and Musician 5911:Nichols, Roger (1998). 5685:Oxford University Press 5613:A French Song Companion 5370:. Westport: Greenwood. 5184:Brown, Matthew (2012). 5147:. London: Kyle Cathie. 5024:Pamies, Sergio (2021). 4957:14 October 2017 at the 4937:10 October 2018 at the 4853:Taruskin (2010), p. 443 4834:(subscription required) 4805:(subscription required) 4782:(subscription required) 4763:(subscription required) 4747:(subscription required) 4710:Debussy (1987), p. 308. 4665:Wheeldon (2017), p. 173 4575:Wheeldon (2001), p. 261 4528:(subscription required) 4491:Taruskin (2010), p. 71. 4438:(subscription required) 4434:Music Educators Journal 4315:(subscription required) 4288:(subscription required) 4259:(subscription required) 4226:(subscription required) 4147:, retrieved 21 May 2018 4145:Encyclopædia Britannica 4083:(subscription required) 4056:(subscription required) 4030:27 October 2017 at the 3976:(subscription required) 3897:"From Préludes to Jeux" 3736:, 4 November 1904, p. 4 3661:(subscription required) 3642:, 15 March 1970, p. 111 3596:(subscription required) 3577:(subscription required) 3539:(subscription required) 3302:Holloway, pp. 21 and 42 3075:(subscription required) 3073:, October 1918, p. 556 2946:16 October 2017 at the 2194:The Devil in the Belfry 2149:(Book 2, 1913). He set 1516:La cathédrale engloutie 1346:. Debussy's biographer 1325:(1903–1905). The suite 1316:Nocturnes for Orchestra 1282:L'après-midi d'un faune 1271:Middle works, 1893–1905 1245:, and the first set of 990:sequestered behind the 832:under the direction of 801:Grand Hotel, Eastbourne 242:In 1870, to escape the 10974:French opera composers 10679:Second Viennese School 10421: 10410: 8321:The Sound and the Fury 8225:In Search of Lost Time 7682: 7611: 7600: 7554: 7543: 7246:Impressionism in music 6146:Sackville-West, Edward 6019:Potter, Keith (1999). 5958:. Mineola, US: Dover. 5806:Moreux, Serge (1953). 5404:Fulcher, Jane (2001). 4950:Christiansen, Rupert. 4862:Nichols (1992), p. 107 4692:Nichols (1992), p. 166 4683:Nichols (1992), p. 120 4674:Nichols (1992), p. 105 4635:Nichols (1980), p. 309 4618:16 August 2017 at the 4473:Nichols (1980), p. 307 4452:Nichols (1980), p. 310 4410:Howat (1983), pp. 1–10 4364:Simeone (2007), p. 109 4269:Wheeldon (2009), p. 44 4236:Trezise (2003), p. 250 3942:Simeone (2000), p. 251 3933:Nichols (1980), p. 308 3797:Lalo, Pierre. "Music: 3754:Nichols (2000), p. 116 3745:Nichols (2000), p. 115 3567:Nectoux, Jean-Michel. 3248:Simeone (2000), p. 212 3103:Nichols (1980), p. 306 3067:Claude Achille Debussy 2839:Lesure and Cain, p. 18 2348:Le Livre de Baudelaire 2242: 2159:in his early cantata, 2151:Dante Gabriel Rossetti 2109: 2042: 2036: 1955:, from the 1908 suite 1842: 1796:unprepared modulations 1763: 1751: 1715: 1662:instrumental colour". 1638: 1531:Performed by Ivan Ilic 1478: 1381:Orledge describes the 1286: 1061: 1050:Early works, 1879–1892 1028: 980:Père Lachaise Cemetery 944: 910:. That, and the three 821: 751: 644: 579: 500:, Debussy first heard 493: 411:Santa Maria dell'Anima 387:French Academy in Rome 360: 263:Conservatoire de Paris 211: 87:Conservatoire de Paris 58: 10658:Reactionary modernism 10581:List of art movements 7392:Unprepared modulation 7077:, Book 2 (1912–1913) 7019:, Book 1 (1909–1910) 6636:"Discovering Debussy" 6531:Wenk, Arthur (1976). 6512:Whistler: A Biography 6150:Shawe-Taylor, Desmond 6067:. London: Rockliffe. 6043:My Friends and Myself 5874:. London: Macmillan. 5529:Holmes, Paul (2010). 5514:. London: Eulenburg. 5406:Debussy and his World 5385:Evans, Allan (2009). 5302:DeVoto, Mark (2004). 5062:Timbrell, pp. 267–268 4909:"Mining for Diamonds" 4701:Thompson, pp. 180–185 4593:DeVoto (2003), p. 179 4419:Trezise (1994), p. 53 4334:Thompson, p. 161 4245:Goubault, Christian. 4200:Thompson, pp. 158–159 4156:Nichols (1977), p. 52 4132:Lockspeiser, Edward. 4093:DeVoto (2004), p. xiv 4052:The Musical Quarterly 3882:, 1 March 1909, p. 10 3732:"Un drame parisien", 3627:Schonberg, Harold C. 3396:Moore Whiting, p. 172 3348:"The Bohemian period" 3221:Nichols (1998), p. 29 3203:Nichols (1998), p. 15 3162:Nichols (1998), p. 13 3153:Nichols (1998), p. 12 3071:The Musical Quarterly 2313:was given a score of 2240: 2105: 2082:Ariane et Barbe-bleue 1838: 1761: 1749: 1710: 1643:Richard Langham Smith 1627: 1477: 1424:Late works, 1906–1917 1278: 1060: 1023: 942: 819: 749: 632: 578:Lilly Debussy in 1902 577: 545:was premiered by the 485: 461:Return to Paris, 1887 354: 335:Piano Trio in G major 319:Château de Chenonceau 221:Saint-Germain-en-Laye 205:Saint-Germain-en-Laye 202: 44: 10502:Hanshinkan Modernism 10358:The Threepenny Opera 10274:Pelléas et Mélisande 7241:Musée Claude-Debussy 7031:Des pas sur la neige 6715:Pelléas et Mélisande 6692:List of compositions 6552:Debussy's Late Style 6215:Schonberg, Harold C. 6104:Freedom and the Arts 5838:Nectoux, Jean-Michel 5470:. Van Nuys: Alfred. 5006:"The Debussy Legacy" 4980:19 July 2019 at the 4914:12 June 2018 at the 4757:Phillips, C. Henry. 4533:14 June 2018 at the 4526:, June 2010, p. 790 4255:Revue de Musicologie 4025:"Alphabetical order" 4011:12 June 2018 at the 3902:28 June 2012 at the 3693:Nectoux, pp. 180–181 3684:McAuliffe, pp. 57–58 3498:30 June 2017 at the 3284:Thompson, p. 82 3266:Thompson, p. 77 3257:Thompson, p. 70 3190:6 April 2017 at the 3118:14 June 2018 at the 2974:14 June 2018 at the 2456:Pelléas et Mélisande 2401:Pelléas et Mélisande 2362:'s of both books of 2334:Pelléas et Mélisande 2315:Pelléas et Mélisande 2305:, waves, aquariums, 2264:Pelléas et Mélisande 2207:Théodore de Banville 2129:Pelléas et Mélisande 1994:Golliwogg's Cakewalk 1952:Golliwogg's Cakewalk 1928:A. Durand & fils 1913:Debussy opined that 1900:Pelléas et Mélisande 1356:Pelléas et Mélisande 1310:Pelléas et Mélisande 875:Pelléas et Mélisande 773:Villeneuve-la-Guyard 718:Pelléas et Mélisande 640:Pelléas et Mélisande 637:for the premiere of 588:Pelléas et Mélisande 569:Pelléas et Mélisande 556:Pelléas et Mélisande 547:Ysaÿe string quartet 424:(based on a text by 409:, which he heard at 209:Debussy's birthplace 187:. Debussy died from 92:Pelléas et Mélisande 10954:Composers for piano 10560:International Style 10310:Afternoon of a Faun 9596:Battleship Potemkin 9500:Mont Sainte-Victoir 7323:Impressionist music 6707:Rodrigue et Chimène 6473:. London: Penguin. 6156:. London: Collins. 5913:The Life of Debussy 5430:Mary Garden's Story 5249:. New York: Dover. 5224:Cox, David (1974). 5096:22 May 2018 at the 4991:5 June 2018 at the 4584:Howat (2011), p. 32 4500:Howat (2011), p. 34 4393:10 May 2016 at the 4170:Walsh (1997), p. 97 4139:22 May 2018 at the 3805:, 16 October 1905, 3634:20 May 2018 at the 3549:Jensen, p. 71 3171:Walsh (2018), p. 36 2662:Michel Calvocoressi 2444:Chansons de Bilitis 2403:. He made a set of 2156:The Blessed Damozel 2143:(Book 1, 1910) and 1861:Pièces pittoresques 1786:chords; use of the 1588:Gabriele D'Annunzio 1572:for cello and piano 1417:development section 954:Camille Saint-Saëns 930:along with Fauré's 830:Orchestre Lamoureux 702:Camille Saint-Saëns 635:Georges Rochegrosse 551:Maurice Maeterlinck 486:Gamelan orchestra, 329:, the patroness of 248:Franco-Prussian War 10439:Buddhist modernism 10396:American modernism 10322:The Rite of Spring 8297:The Sun Also Rises 8273:The Magic Mountain 7251:Debussy quadrangle 7201:La Damoiselle élue 6993:Reflets dans l'eau 6846:Première rhapsodie 6771:La boîte à joujoux 6571:Rethinking Debussy 6508:Weintraub, Stanley 6221:The Great Pianists 6193:Schmitz, E. Robert 6082:Rethinking Debussy 6004:. London: Little. 5894:Debussy Remembered 5702:Lesure, François; 5680:Grove Music Online 5572:Rethinking Debussy 5512:Debussy and Wagner 5089:Clements, Andrew. 4824:Briscoe, James R. 4624:Current Musicology 4222:19th-Century Music 3657:Grove Music Online 3640:The New York Times 3592:Grove Music Online 3573:Grove Music Online 3493:"The Consecration" 3378:in Taruskin, p. 55 3329:Cooke, pp. 258–260 3144:Lockspeiser, p. 28 3124:Le Mercure Musical 3094:Lockspeiser, p. 26 3065:Prod'homme, J. G. 3051:Lockspeiser, p. 25 3024:Lockspeiser, p. 20 2578:) and the winner ( 2415:, and five of the 2376:Reflets dans l'eau 2243: 2161:La Damoiselle élue 2110: 2030:and was in awe of 2017:The more than slow 1935:La damoiselle élue 1902:. In the music of 1764: 1752: 1732:Fibonacci sequence 1639: 1604:La boîte à joujoux 1479: 1348:Edward Lockspeiser 1287: 1206:La Demoiselle élue 1164:La Damoiselle élue 1153:Georges Jean-Aubry 1114:Deuxième Arabesque 1093:Première Arabesque 1062: 1021:wrote of Debussy: 945: 923:The Rite of Spring 834:Camille Chevillard 822: 752: 689:Pierre de Bréville 645: 580: 494: 473:Concerts Lamoureux 468:Tristan und Isolde 435:La Damoiselle élue 361: 212: 151:La Damoiselle élue 59: 10739: 10738: 10467:Experimental film 10383: 10382: 10370:Waiting for Godot 9677: 9676: 8334: 8333: 8237:The Metamorphosis 7487: 7486: 7474:Modernism (music) 7387:Pentatonic scales 7289: 7288: 7166:Ariettes oubliées 7145: 7144: 7106: 7105: 7068:La plus que lente 7002:Children's Corner 6956:suite (1894–1901) 6945:Suite bergamasque 6861: 6860: 6833:L'enfant prodigue 6599:978-0-19-063122-2 6580:978-0-19-975563-9 6561:978-0-253-35239-2 6542:978-0-520-02827-2 6521:978-0-306-80971-2 6499:978-0-571-33016-4 6480:978-0-14-051385-1 6435:978-0-521-65478-4 6414:978-0-521-44656-3 6395:978-0-521-65478-4 6353:978-0-19-538484-0 6334:978-0-520-29348-9 6321:Taruskin, Richard 6312:978-0-521-78009-4 6293:978-0-521-65243-8 6270:978-0-300-08053-7 6251:978-0-7935-9976-9 6232:978-0-671-64200-6 6206:978-0-486-17275-0 6184:978-0-85249-308-3 6175:Aprahamian, Felix 6137:978-1-84115-475-6 6127:The Rest Is Noise 6113:978-0-674-04752-5 6091:978-0-19-975563-9 6052:978-0-234-77251-5 6030:978-0-521-48250-9 6011:978-1-904435-98-3 5989:978-0-521-65478-4 5965:978-0-486-26633-6 5943:978-0-300-10882-8 5922:978-0-521-57887-5 5903:978-0-571-15357-2 5881:978-0-333-23111-1 5855:978-0-52-123524-2 5829:978-0-8443-0105-1 5798:978-0-19-816458-6 5779:978-0-7126-2050-5 5753:978-1-4422-2163-5 5734:978-0-521-22054-5 5694:978-1-56159-263-0 5663:978-1-580-46903-6 5641:978-0-335-05451-0 5622:978-0-19-973005-6 5600:978-0-19-973005-6 5581:978-0-19-975563-9 5562:978-0-521-31145-8 5540:978-0-85712-433-3 5521:978-0-903873-25-3 5499:978-1-58046-104-7 5477:978-0-7390-3876-5 5458:978-1-61530-006-8 5415:978-1-4008-3195-1 5396:978-0-25-335310-8 5377:978-0-313-20775-4 5364:Dumesnil, Maurice 5355:978-0-521-65478-4 5334:978-0-19-315469-8 5313:978-1-57647-090-9 5294:978-0-521-65478-4 5273:978-0-674-19429-8 5235:978-0-563-12678-2 5216:978-1-55553-319-9 5197:978-0-253-35716-8 5176:978-2-919046-34-8 5154:978-1-85626-103-6 5132:978-2-02-000242-4 5004:Pullinger, Mark. 4965:, 14 January 2017 4826:"Debussy Studies" 4815:Gorlinski, p. 117 4774:"Debussy, Claude" 4737:Baldrick, Chris. 4401:, 15 October 2009 4325:Weintraub, p. 351 4284:The Musical Times 4278:Orledge, Robert. 4073:Orledge, Robert. 3972:The Musical Times 3831:"War and Illness" 3809:in Jensen, p. 206 3535:The Musical Times 3135:Schonberg, p. 343 3006:"Formative Years" 2574:, the runner-up ( 2413:Children's Corner 2397:Ariettes oubliées 2215:Théophile Gautier 2077:Arnold Schoenberg 2012:La plus que lente 1958:Children's Corner 1920:François Couperin 1792:pentatonic scales 1759: 1526: 1503: 1313:(1893–1902), the 1265:Suite Bergamasque 1242:Suite bergamasque 1210:Ariettes oubliées 1200:The musicologist 1186:Ariettes oubliées 1158:L'enfant prodigue 1125: 1104: 1080: 883:colorectal cancer 849:Children's Corner 722:Georgette Leblanc 608:Stéphane Mallarmé 454:Ariettes oubliées 378:L'enfant prodigue 327:Nadezhda von Meck 299:deuxième accessit 285:, and organ with 16:(Redirected from 11011: 10879: 10871: 10870: 10869: 10862: 10854: 10853: 10852: 10845: 10837: 10836: 10835: 10828: 10820: 10819: 10818: 10808: 10792: 10791: 10790: 10780: 10779: 10778: 10768: 10767: 10756: 10755: 10754: 10747: 10731: 10730: 10702: 10700:Vulgar modernism 10695: 10693:Underground film 10688: 10681: 10674: 10667: 10660: 10653: 10646: 10639: 10632: 10625: 10618: 10611: 10604: 10597: 10590: 10583: 10576: 10569: 10562: 10555: 10546: 10539: 10532: 10525: 10518: 10516:Hippie modernism 10511: 10504: 10497: 10490: 10483: 10476: 10469: 10462: 10455: 10448: 10441: 10434: 10432:Bloomsbury Group 10427: 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Translated by 6165: 6154:The Record Guide 6141: 6117: 6095: 6076: 6056: 6039:Poulenc, Francis 6034: 6015: 5993: 5969: 5952:Orenstein, Arbie 5947: 5926: 5907: 5885: 5859: 5833: 5814:. Translated by 5813: 5802: 5783: 5771: 5762:Mellers, Wilfrid 5757: 5738: 5719: 5698: 5683:(8th ed.). 5676: 5667: 5650:Lesure, François 5645: 5626: 5604: 5585: 5566: 5544: 5525: 5503: 5486:Hartmann, Arthur 5481: 5462: 5443: 5433: 5419: 5400: 5381: 5359: 5338: 5317: 5298: 5277: 5258: 5239: 5220: 5201: 5180: 5158: 5136: 5105: 5104:, 3 January 2018 5087: 5081: 5078: 5072: 5071:Timbrell, p. 261 5069: 5063: 5060: 5054: 5053: 5021: 5015: 5002: 4996: 4972: 4966: 4948: 4942: 4929: 4923: 4905: 4899: 4896: 4890: 4887: 4881: 4880:Ross, pp. 99–100 4878: 4872: 4869: 4863: 4860: 4854: 4851: 4845: 4842: 4836: 4835: 4822: 4816: 4813: 4807: 4806: 4793:Kennedy, Michael 4790: 4784: 4783: 4771: 4765: 4764: 4755: 4749: 4748: 4735: 4729: 4726: 4720: 4717: 4711: 4708: 4702: 4699: 4693: 4690: 4684: 4681: 4675: 4672: 4666: 4663: 4654: 4651: 4645: 4642: 4636: 4633: 4627: 4609: 4603: 4600: 4594: 4591: 4585: 4582: 4576: 4573: 4564: 4563:Siepmann, p. 132 4561: 4555: 4552: 4546: 4543: 4537: 4529: 4516: 4510: 4507: 4501: 4498: 4492: 4489: 4483: 4480: 4474: 4471: 4462: 4459: 4453: 4450: 4441: 4439: 4428:Nadeau, Roland. 4426: 4420: 4417: 4411: 4408: 4402: 4384: 4378: 4371: 4365: 4362: 4353: 4350: 4344: 4341: 4335: 4332: 4326: 4323: 4317: 4316: 4303: 4290: 4289: 4276: 4270: 4267: 4261: 4260: 4243: 4237: 4234: 4228: 4227: 4210: 4201: 4198: 4192: 4191:Donnellon, p. 49 4189: 4180: 4177: 4171: 4168: 4157: 4154: 4148: 4134:"Claude Debussy" 4130: 4124: 4121: 4115: 4112: 4106: 4103: 4094: 4091: 4085: 4084: 4071: 4058: 4057: 4048:"Claude Debussy" 4044: 4035: 4022: 4016: 4002: 3996: 3993: 3987: 3984: 3978: 3977: 3966:Newman, Ernest. 3964: 3943: 3940: 3934: 3931: 3925: 3922: 3916: 3913: 3907: 3894: 3883: 3876: 3870: 3869:Schmidtz, p. 118 3867: 3861: 3860:Hartmann, p. 154 3858: 3852: 3849: 3843: 3840: 3834: 3828: 3819: 3816: 3810: 3795: 3786: 3785: 3783: 3781: 3770: 3764: 3761: 3755: 3752: 3746: 3743: 3737: 3730: 3724: 3721: 3712: 3709: 3703: 3700: 3694: 3691: 3685: 3682: 3676: 3669: 3663: 3662: 3649: 3643: 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8860: 8853: 8846: 8839: 8832: 8825: 8818: 8811: 8804: 8797: 8790: 8783: 8776: 8769: 8762: 8755: 8748: 8741: 8734: 8727: 8720: 8713: 8706: 8699: 8692: 8685: 8678: 8671: 8664: 8657: 8650: 8643: 8636: 8629: 8622: 8615: 8608: 8601: 8594: 8587: 8580: 8573: 8566: 8559: 8552: 8545: 8538: 8531: 8524: 8517: 8510: 8503: 8496: 8489: 8482: 8475: 8468: 8461: 8454: 8447: 8440: 8433: 8426: 8419: 8412: 8405: 8398: 8391: 8384: 8377: 8370: 8363: 8356: 8330: 8324: 8318: 8312: 8306: 8300: 8294: 8288: 8282: 8276: 8270: 8264: 8258: 8252: 8246: 8240: 8234: 8228: 8222: 8211: 8204: 8197: 8190: 8183: 8176: 8169: 8162: 8155: 8148: 8141: 8134: 8127: 8120: 8115:Lowell (Robert) 8113: 8106: 8099: 8092: 8085: 8078: 8071: 8064: 8057: 8050: 8043: 8036: 8029: 8022: 8015: 8008: 7995: 7988: 7981: 7974: 7967: 7960: 7953: 7946: 7939: 7932: 7925: 7918: 7911: 7904: 7897: 7890: 7883: 7876: 7869: 7862: 7855: 7848: 7841: 7834: 7827: 7820: 7813: 7806: 7799: 7792: 7785: 7778: 7771: 7764: 7757: 7750: 7728: 7721: 7714: 7707: 7700: 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London: BBC. 5217: 5198: 5177: 5155: 5133: 5113: 5108: 5098:Wayback Machine 5088: 5084: 5079: 5075: 5070: 5066: 5061: 5057: 5022: 5018: 5003: 4999: 4993:Wayback Machine 4982:Wayback Machine 4973: 4969: 4959:Wayback Machine 4949: 4945: 4939:Wayback Machine 4930: 4926: 4916:Wayback Machine 4906: 4902: 4897: 4893: 4888: 4884: 4879: 4875: 4870: 4866: 4861: 4857: 4852: 4848: 4843: 4839: 4833: 4823: 4819: 4814: 4810: 4804: 4791: 4787: 4781: 4772: 4768: 4762: 4756: 4752: 4746: 4736: 4732: 4727: 4723: 4718: 4714: 4709: 4705: 4700: 4696: 4691: 4687: 4682: 4678: 4673: 4669: 4664: 4657: 4652: 4648: 4643: 4639: 4634: 4630: 4620:Wayback Machine 4610: 4606: 4601: 4597: 4592: 4588: 4583: 4579: 4574: 4567: 4562: 4558: 4553: 4549: 4544: 4540: 4535:Wayback Machine 4527: 4517: 4513: 4508: 4504: 4499: 4495: 4490: 4486: 4481: 4477: 4472: 4465: 4461:Reti, pp. 26–30 4460: 4456: 4451: 4444: 4437: 4427: 4423: 4418: 4414: 4409: 4405: 4395:Wayback Machine 4385: 4381: 4372: 4368: 4363: 4356: 4352:Fulcher, p. 150 4351: 4347: 4342: 4338: 4333: 4329: 4324: 4320: 4314: 4307:"Impressionism" 4304: 4293: 4287: 4277: 4273: 4268: 4264: 4258: 4244: 4240: 4235: 4231: 4225: 4211: 4204: 4199: 4195: 4190: 4183: 4178: 4174: 4169: 4160: 4155: 4151: 4141:Wayback Machine 4131: 4127: 4122: 4118: 4113: 4109: 4104: 4097: 4092: 4088: 4082: 4072: 4061: 4055: 4045: 4038: 4032:Wayback Machine 4023: 4019: 4013:Wayback Machine 4004:Parker, Roger. 4003: 3999: 3995:Mellers, p. 938 3994: 3990: 3985: 3981: 3975: 3965: 3946: 3941: 3937: 3932: 3928: 3923: 3919: 3914: 3910: 3904:Wayback Machine 3895: 3886: 3877: 3873: 3868: 3864: 3859: 3855: 3850: 3846: 3841: 3837: 3829: 3822: 3817: 3813: 3796: 3789: 3779: 3777: 3772: 3771: 3767: 3762: 3758: 3753: 3749: 3744: 3740: 3731: 3727: 3722: 3715: 3710: 3706: 3701: 3697: 3692: 3688: 3683: 3679: 3670: 3666: 3660: 3650: 3646: 3636:Wayback Machine 3626: 3619: 3614: 3610: 3605: 3601: 3595: 3586: 3582: 3576: 3566: 3562: 3557: 3553: 3548: 3544: 3538: 3528: 3524: 3519: 3515: 3510: 3506: 3500:Wayback Machine 3491: 3464: 3459: 3455: 3450: 3446: 3441: 3437: 3432: 3428: 3422:Wayback Machine 3413: 3400: 3395: 3391: 3386: 3382: 3374: 3370: 3365: 3361: 3355:Wayback Machine 3346: 3333: 3328: 3324: 3319: 3315: 3310: 3306: 3301: 3297: 3292: 3288: 3283: 3279: 3274: 3270: 3265: 3261: 3256: 3252: 3247: 3243: 3239:Nectoux, p. 269 3238: 3234: 3229: 3225: 3220: 3216: 3212:Fulcher, p. 114 3211: 3207: 3202: 3198: 3192:Wayback Machine 3182: 3175: 3170: 3166: 3161: 3157: 3152: 3148: 3143: 3139: 3134: 3130: 3120:Wayback Machine 3111: 3107: 3102: 3098: 3093: 3089: 3085:Fulcher, p. 302 3084: 3080: 3074: 3064: 3055: 3050: 3046: 3041: 3037: 3032: 3028: 3023: 3019: 3013:Wayback Machine 3004: 2991: 2987:Jensen, pp. 3–4 2986: 2982: 2976:Wayback Machine 2967: 2963: 2958: 2954: 2948:Wayback Machine 2939: 2926: 2921: 2917: 2912: 2908: 2903: 2899: 2894: 2843: 2838: 2834: 2830: 2825: 2805:In addition to 2804: 2800: 2791: 2787: 2778: 2774: 2765: 2761: 2756: 2752: 2742: 2738: 2733: 2729: 2723: 2719: 2696: 2692: 2681: 2677: 2672: 2668: 2660:and the critic 2646:Paul Ladmirault 2638:Florent Schmitt 2635: 2631: 2621: 2617: 2607:Ambroise Thomas 2604: 2600: 2590: 2586: 2569: 2565: 2551: 2547: 2542: 2538: 2526: 2522: 2518: 2513: 2505:Warner Classics 2476:Ernest Ansermet 2468:Charles Panzéra 2452:Marguerite Long 2440:Jacques Thibaud 2389: 2339:Written on Skin 2326:George Benjamin 2235: 2223:François Villon 2177:Edgar Allan Poe 2100: 2024:Richard Strauss 1967:Lawrence Kramer 1882:Rimsky-Korsakov 1848: 1845:Debussy in 1893 1844: 1836: 1831: 1818:Rimsky-Korsakov 1780:parallel chords 1754: 1744: 1736:Debussy: La Mer 1622: 1617: 1546: 1545: 1537: 1535: 1534: 1533: 1532: 1529: 1522: 1519: 1511: 1510: 1509: 1506: 1499: 1496: 1488: 1480: 1474: 1466:François Lesure 1462:octatonic scale 1426: 1386: 1273: 1261:"Clair de Lune" 1191:Proses lyriques 1149: 1148: 1140: 1138: 1137: 1136: 1135: 1128: 1121: 1118: 1109: 1108: 1107: 1100: 1097: 1088: 1087: 1086: 1083: 1076: 1073: 1063: 1057: 1052: 1040:François Lesure 1019:Wilfrid Mellers 1006: 1000: 972:First World War 943:Debussy in 1908 744: 736:Richard Strauss 671:Manuel de Falla 667:Igor Stravinsky 592:Ernest Chausson 572: 515:Rimsky-Korsakov 490: 463: 349: 281:, harmony with 275:Albert Lavignac 217: 197: 195:Life and career 181:George Benjamin 70: 57: 50: 35: 28: 23: 22: 15: 12: 11: 5: 11017: 11007: 11006: 11001: 10996: 10991: 10986: 10981: 10976: 10971: 10966: 10961: 10956: 10951: 10946: 10941: 10936: 10931: 10926: 10921: 10916: 10911: 10906: 10901: 10896: 10894:Claude Debussy 10881: 10880: 10863: 10846: 10844:from Wikiquote 10829: 10802:Claude Debussy 10800: 10797: 10796: 10784: 10772: 10760: 10737: 10736: 10719: 10711: 10710: 10707: 10706: 10704: 10703: 10696: 10689: 10682: 10675: 10668: 10661: 10654: 10647: 10644:Poetic realism 10640: 10633: 10626: 10619: 10612: 10605: 10598: 10591: 10584: 10577: 10574:Late modernity 10570: 10567:Late modernism 10563: 10556: 10549: 10548: 10547: 10540: 10533: 10519: 10512: 10509:High modernism 10505: 10498: 10491: 10484: 10477: 10470: 10463: 10456: 10453:Degenerate art 10449: 10442: 10435: 10428: 10423:Ballets Russes 10417: 10406: 10399: 10391: 10389: 10385: 10384: 10381: 10380: 10378: 10377: 10365: 10353: 10341: 10329: 10317: 10305: 10293: 10281: 10269: 10257: 10245: 10232: 10230: 10226: 10225: 10223: 10222: 10215: 10208: 10201: 10194: 10187: 10180: 10173: 10166: 10159: 10152: 10145: 10138: 10131: 10124: 10117: 10110: 10102: 10100: 10094: 10093: 10091: 10090: 10083: 10076: 10069: 10062: 10055: 10048: 10041: 10034: 10027: 10020: 10013: 10006: 9999: 9992: 9985: 9978: 9971: 9964: 9957: 9950: 9942: 9940: 9934: 9933: 9931: 9930: 9923: 9916: 9909: 9902: 9895: 9888: 9881: 9874: 9867: 9860: 9853: 9846: 9839: 9832: 9825: 9818: 9811: 9804: 9797: 9790: 9783: 9776: 9769: 9762: 9755: 9748: 9741: 9734: 9727: 9720: 9713: 9706: 9698: 9696: 9687: 9679: 9678: 9675: 9674: 9672: 9671: 9659: 9647: 9637: 9627: 9615: 9603: 9591: 9579: 9567: 9555: 9543: 9531: 9519: 9507: 9495: 9482: 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8424: 8417: 8410: 8403: 8396: 8389: 8382: 8375: 8368: 8361: 8353: 8351: 8342: 8336: 8335: 8332: 8331: 8329: 8328: 8316: 8304: 8292: 8280: 8268: 8261:The Waste Land 8256: 8244: 8232: 8219: 8217: 8213: 8212: 8210: 8209: 8202: 8195: 8188: 8181: 8174: 8167: 8160: 8153: 8146: 8139: 8132: 8125: 8118: 8111: 8104: 8097: 8090: 8083: 8076: 8069: 8062: 8055: 8048: 8041: 8034: 8027: 8020: 8013: 8005: 8003: 7997: 7996: 7994: 7993: 7986: 7979: 7972: 7965: 7958: 7951: 7944: 7937: 7930: 7923: 7916: 7909: 7902: 7895: 7888: 7881: 7874: 7867: 7860: 7853: 7846: 7839: 7832: 7825: 7818: 7811: 7804: 7797: 7790: 7783: 7776: 7769: 7762: 7755: 7747: 7745: 7736: 7730: 7729: 7727: 7726: 7719: 7712: 7705: 7698: 7691: 7690: 7689: 7671: 7664: 7657: 7650: 7649: 7648: 7634: 7627: 7626: 7625: 7618: 7607: 7589: 7582: 7575: 7572:Constructivism 7568: 7561: 7550: 7539: 7531: 7529: 7525: 7524: 7517: 7516: 7509: 7502: 7494: 7485: 7484: 7482: 7481: 7479:Romantic music 7476: 7470: 7468: 7464: 7463: 7461: 7460: 7452: 7445: 7438: 7431: 7428:L'isle joyeuse 7424: 7417: 7409: 7407: 7403: 7402: 7400: 7399: 7394: 7389: 7384: 7379: 7377:Bitonal chords 7373: 7371: 7367: 7366: 7359: 7357: 7355: 7354: 7349: 7347:Gabriel Pierné 7344: 7339: 7337:Claude Debussy 7333: 7331: 7327: 7326: 7319: 7318: 7311: 7304: 7296: 7287: 7286: 7284: 7283: 7272: 7269: 7268: 7266: 7265: 7260: 7259: 7258: 7248: 7243: 7238: 7231: 7229: 7225: 7224: 7222: 7221: 7213: 7209:Trois Chansons 7205: 7196: 7194: 7190: 7189: 7187: 7186: 7182:Fêtes galantes 7178: 7170: 7162: 7153: 7151: 7147: 7146: 7143: 7142: 7140: 7139: 7131: 7123: 7114: 7112: 7104: 7103: 7101: 7100: 7094: 7093: 7092: 7085: 7072: 7064: 7063: 7062: 7055: 7048: 7041: 7034: 7027: 7014: 7006: 6998: 6997: 6996: 6981: 6977:L'isle joyeuse 6973: 6965: 6957: 6949: 6941: 6933: 6929:Two Arabesques 6924: 6922: 6915: 6911: 6910: 6908: 6907: 6897: 6888: 6882: 6879:String Quartet 6876: 6869: 6867: 6863: 6862: 6859: 6858: 6856: 6855: 6849: 6843: 6837: 6828: 6826: 6825:With a soloist 6819: 6818: 6810: 6802: 6794: 6785: 6783: 6779: 6778: 6776: 6775: 6767: 6759: 6750: 6748: 6744: 6743: 6741: 6740: 6732: 6724: 6711: 6702: 6700: 6696: 6695: 6690: 6687: 6686: 6683:Claude Debussy 6679: 6678: 6671: 6664: 6656: 6650: 6649: 6644: 6632: 6622: 6610: 6609:External links 6607: 6605: 6604: 6598: 6585: 6579: 6566: 6560: 6547: 6541: 6527: 6526: 6520: 6504: 6498: 6485: 6479: 6464: 6440: 6434: 6419: 6413: 6400: 6394: 6379: 6358: 6352: 6339: 6333: 6317: 6311: 6298: 6292: 6275: 6269: 6256: 6250: 6237: 6231: 6211: 6205: 6189: 6183: 6166: 6142: 6136: 6118: 6112: 6100:Rosen, Charles 6096: 6090: 6077: 6057: 6051: 6035: 6029: 6016: 6010: 5994: 5988: 5970: 5964: 5948: 5942: 5927: 5921: 5908: 5902: 5890:Nichols, Roger 5886: 5880: 5868:Sadie, Stanley 5864:Nichols, Roger 5860: 5854: 5834: 5828: 5820:Mauny, Erik de 5803: 5797: 5784: 5778: 5758: 5752: 5739: 5733: 5720: 5699: 5693: 5668: 5662: 5646: 5640: 5627: 5621: 5605: 5599: 5586: 5580: 5567: 5561: 5545: 5539: 5526: 5520: 5504: 5498: 5482: 5476: 5463: 5457: 5444: 5420: 5414: 5401: 5395: 5382: 5376: 5360: 5354: 5339: 5333: 5318: 5312: 5299: 5293: 5278: 5272: 5259: 5240: 5234: 5221: 5215: 5202: 5196: 5181: 5175: 5163:Boulez, Pierre 5159: 5153: 5137: 5131: 5119:Barraqué, Jean 5114: 5112: 5109: 5107: 5106: 5082: 5073: 5064: 5055: 5016: 4997: 4967: 4943: 4924: 4922:, 14 July 2000 4900: 4891: 4882: 4873: 4864: 4855: 4846: 4837: 4817: 4808: 4785: 4766: 4750: 4730: 4721: 4712: 4703: 4694: 4685: 4676: 4667: 4655: 4646: 4637: 4628: 4604: 4595: 4586: 4577: 4565: 4556: 4554:Jensen, p. 147 4547: 4545:Jensen, p. 146 4538: 4518:DeVoto, Mark. 4511: 4502: 4493: 4484: 4475: 4463: 4454: 4442: 4421: 4412: 4403: 4379: 4366: 4354: 4345: 4336: 4327: 4318: 4291: 4271: 4262: 4238: 4229: 4212:Pasler, Jann. 4202: 4193: 4181: 4172: 4158: 4149: 4125: 4116: 4107: 4105:Halford, p. 12 4095: 4086: 4059: 4036: 4017: 3997: 3988: 3979: 3944: 3935: 3926: 3924:Vallas, p. 269 3917: 3908: 3884: 3871: 3862: 3853: 3844: 3835: 3820: 3818:Parris, p. 274 3811: 3787: 3765: 3756: 3747: 3738: 3725: 3713: 3704: 3702:Orledge, p. 21 3695: 3686: 3677: 3664: 3653:"Garden, Mary" 3644: 3617: 3608: 3599: 3589:"Dukas, Paul." 3580: 3560: 3551: 3542: 3529:Pasler, Jann. 3522: 3513: 3504: 3462: 3453: 3444: 3435: 3426: 3398: 3389: 3387:Johnson, p. 95 3380: 3368: 3359: 3331: 3322: 3313: 3304: 3295: 3286: 3277: 3275:Fulcher, p. 71 3268: 3259: 3250: 3241: 3232: 3223: 3214: 3205: 3196: 3173: 3164: 3155: 3146: 3137: 3128: 3105: 3096: 3087: 3078: 3053: 3044: 3035: 3026: 3017: 2989: 2980: 2961: 2952: 2941:"Prix de Rome" 2924: 2915: 2906: 2897: 2841: 2831: 2829: 2826: 2824: 2823: 2811:Herbie Hancock 2798: 2785: 2781:Ignaz Friedman 2772: 2759: 2750: 2736: 2727: 2717: 2707:Robert Orledge 2690: 2675: 2666: 2656:, the painter 2642:Maurice Delage 2629: 2615: 2598: 2584: 2563: 2545: 2536: 2519: 2517: 2514: 2512: 2509: 2484:Pierre Monteux 2388: 2385: 2360:Colin Matthews 2352:Robin Holloway 2328:has described 2234: 2231: 2172:As You Like It 2099: 2096: 2043:le vieux sourd 1924:Two arabesques 1837: 1835: 1832: 1830: 1827: 1743: 1740: 1706:Henry Malherbe 1621: 1618: 1616: 1613: 1536: 1530: 1520: 1513: 1512: 1507: 1497: 1490: 1489: 1482: 1481: 1472: 1471: 1470: 1425: 1422: 1352:String Quartet 1305:String Quartet 1272: 1269: 1257:Two Arabesques 1248:Fêtes galantes 1230:Two Arabesques 1195:Robert Orledge 1139: 1129: 1119: 1111: 1110: 1098: 1090: 1089: 1084: 1074: 1066: 1065: 1064: 1055: 1054: 1053: 1051: 1048: 999: 996: 988:Passy Cemetery 892:conducted the 789:arrondissement 743: 740: 685:Alfred Bruneau 616:André Messager 599:symphonic poem 571: 565: 543:String Quartet 462: 459: 445:Jules Massenet 432:; the cantata 426:Heinrich Heine 357:Marcel Baschet 348: 345: 279:Ernest Guiraud 269:, and studied 244:siege of Paris 216: 213: 196: 193: 67:Claude Debussy 45: 26: 9: 6: 4: 3: 2: 11016: 11005: 11002: 11000: 10997: 10995: 10992: 10990: 10987: 10985: 10982: 10980: 10977: 10975: 10972: 10970: 10967: 10965: 10962: 10960: 10957: 10955: 10952: 10950: 10947: 10945: 10942: 10940: 10937: 10935: 10932: 10930: 10927: 10925: 10922: 10920: 10917: 10915: 10912: 10910: 10907: 10905: 10902: 10900: 10897: 10895: 10892: 10891: 10889: 10878:from Wikidata 10877: 10876: 10864: 10860: 10859: 10847: 10843: 10842: 10830: 10826: 10825: 10813: 10812: 10809: 10803: 10795: 10785: 10783: 10773: 10771: 10766: 10761: 10759: 10749: 10748: 10745: 10734: 10724: 10723: 10722:Postmodernism 10717: 10716: 10708: 10701: 10697: 10694: 10690: 10687: 10683: 10680: 10676: 10673: 10669: 10666: 10665:Metamodernism 10662: 10659: 10655: 10652: 10648: 10645: 10641: 10638: 10634: 10631: 10630:New Hollywood 10627: 10624: 10620: 10617: 10613: 10610: 10606: 10603: 10599: 10596: 10592: 10589: 10585: 10582: 10578: 10575: 10571: 10568: 10564: 10561: 10557: 10554: 10550: 10545: 10541: 10538: 10534: 10531: 10527: 10526: 10524: 10523:Impressionism 10520: 10517: 10513: 10510: 10506: 10503: 10499: 10496: 10492: 10489: 10485: 10482: 10478: 10475: 10471: 10468: 10464: 10461: 10457: 10454: 10450: 10447: 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7593:Expressionism 7590: 7587: 7583: 7580: 7576: 7573: 7569: 7566: 7565:Ashcan School 7562: 7558: 7557: 7551: 7547: 7546: 7540: 7537: 7533: 7532: 7530: 7526: 7522: 7515: 7510: 7508: 7503: 7501: 7496: 7495: 7492: 7480: 7477: 7475: 7472: 7471: 7469: 7465: 7458: 7457: 7453: 7451: 7450: 7446: 7444: 7443: 7439: 7437: 7436: 7432: 7430: 7429: 7425: 7423: 7422: 7418: 7416: 7415: 7411: 7410: 7408: 7404: 7398: 7395: 7393: 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7374: 7372: 7368: 7363: 7353: 7352:Maurice Ravel 7350: 7348: 7345: 7343: 7340: 7338: 7335: 7334: 7332: 7328: 7324: 7317: 7312: 7310: 7305: 7303: 7298: 7297: 7294: 7282: 7274: 7273: 7270: 7264: 7261: 7257: 7254: 7253: 7252: 7249: 7247: 7244: 7242: 7239: 7236: 7233: 7232: 7230: 7226: 7219: 7218: 7214: 7211: 7210: 7206: 7203: 7202: 7198: 7197: 7195: 7191: 7184: 7183: 7179: 7176: 7175: 7171: 7168: 7167: 7163: 7160: 7159: 7155: 7154: 7152: 7148: 7137: 7136: 7132: 7129: 7128: 7124: 7121: 7120: 7116: 7115: 7113: 7109: 7098: 7095: 7091: 7090: 7086: 7084: 7083: 7079: 7078: 7076: 7073: 7070: 7069: 7065: 7061: 7060: 7056: 7054: 7053: 7049: 7047: 7046: 7042: 7040: 7039: 7035: 7033: 7032: 7028: 7026: 7025: 7021: 7020: 7018: 7015: 7012: 7011: 7007: 7004: 7003: 6999: 6995: 6994: 6990: 6989: 6987: 6986: 6982: 6979: 6978: 6974: 6971: 6970: 6966: 6963: 6962: 6958: 6955: 6954: 6953:Pour le piano 6950: 6947: 6946: 6942: 6939: 6938: 6934: 6931: 6930: 6926: 6925: 6923: 6919: 6916: 6912: 6905: 6902:(1915–1917): 6901: 6898: 6895: 6893: 6889: 6886: 6883: 6880: 6877: 6874: 6871: 6870: 6868: 6864: 6853: 6850: 6847: 6844: 6841: 6838: 6835: 6834: 6830: 6829: 6827: 6823: 6816: 6815: 6811: 6808: 6807: 6803: 6800: 6799: 6795: 6792: 6791: 6787: 6786: 6784: 6780: 6773: 6772: 6768: 6765: 6764: 6760: 6757: 6756: 6752: 6751: 6749: 6745: 6738: 6737: 6733: 6730: 6729: 6725: 6722: 6717: 6716: 6712: 6709: 6708: 6704: 6703: 6701: 6697: 6693: 6688: 6684: 6677: 6672: 6670: 6665: 6663: 6658: 6657: 6654: 6648: 6645: 6641: 6637: 6633: 6630: 6626: 6623: 6620: 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S. 5812: 5811: 5804: 5800: 5794: 5790: 5785: 5781: 5775: 5770: 5769: 5763: 5759: 5755: 5749: 5745: 5740: 5736: 5730: 5726: 5721: 5717: 5713: 5709: 5705: 5700: 5696: 5690: 5686: 5682: 5681: 5675: 5669: 5665: 5659: 5655: 5651: 5647: 5643: 5637: 5633: 5628: 5624: 5618: 5614: 5610: 5606: 5602: 5596: 5592: 5587: 5583: 5577: 5573: 5568: 5564: 5558: 5554: 5550: 5546: 5542: 5536: 5532: 5527: 5523: 5517: 5513: 5509: 5505: 5501: 5495: 5491: 5487: 5483: 5479: 5473: 5469: 5464: 5460: 5454: 5450: 5445: 5441: 5437: 5432: 5431: 5425: 5421: 5417: 5411: 5407: 5402: 5398: 5392: 5388: 5383: 5379: 5373: 5369: 5365: 5361: 5357: 5351: 5347: 5346: 5340: 5336: 5330: 5326: 5325: 5319: 5315: 5309: 5305: 5300: 5296: 5290: 5286: 5285: 5279: 5275: 5269: 5265: 5260: 5256: 5252: 5248: 5247: 5241: 5237: 5231: 5227: 5222: 5218: 5212: 5208: 5203: 5199: 5193: 5189: 5188: 5182: 5178: 5172: 5168: 5164: 5160: 5156: 5150: 5146: 5142: 5138: 5134: 5128: 5124: 5120: 5116: 5115: 5103: 5099: 5095: 5092: 5086: 5077: 5068: 5059: 5051: 5047: 5043: 5039: 5036:(1): 76–105. 5035: 5031: 5027: 5020: 5013: 5012: 5007: 5001: 4994: 4990: 4987: 4983: 4979: 4976: 4971: 4964: 4963:The Telegraph 4960: 4956: 4953: 4947: 4940: 4936: 4933: 4928: 4921: 4917: 4913: 4910: 4907:Service, Tom 4904: 4898:Boulez, p. 28 4895: 4889:Samuel, p. 69 4886: 4877: 4868: 4859: 4850: 4841: 4831: 4827: 4821: 4812: 4802: 4798: 4794: 4789: 4779: 4775: 4770: 4760: 4754: 4744: 4740: 4734: 4728:Rosen, p. 229 4725: 4716: 4707: 4698: 4689: 4680: 4671: 4662: 4660: 4650: 4641: 4632: 4625: 4621: 4617: 4614: 4608: 4599: 4590: 4581: 4572: 4570: 4560: 4551: 4542: 4536: 4532: 4525: 4521: 4515: 4506: 4497: 4488: 4479: 4470: 4468: 4458: 4449: 4447: 4435: 4431: 4425: 4416: 4407: 4400: 4396: 4392: 4389: 4386:Iyer, Vijay. 4383: 4376: 4370: 4361: 4359: 4349: 4343:Jensen, p. 35 4340: 4331: 4322: 4312: 4308: 4302: 4300: 4298: 4296: 4285: 4281: 4275: 4266: 4256: 4252: 4250: 4242: 4233: 4223: 4219: 4217: 4209: 4207: 4197: 4188: 4186: 4179:Blyth, p. 125 4176: 4167: 4165: 4163: 4153: 4146: 4142: 4138: 4135: 4129: 4120: 4111: 4102: 4100: 4090: 4080: 4076: 4070: 4068: 4066: 4064: 4053: 4049: 4043: 4041: 4033: 4029: 4026: 4021: 4014: 4010: 4007: 4001: 3992: 3983: 3973: 3969: 3963: 3961: 3959: 3957: 3955: 3953: 3951: 3949: 3939: 3930: 3921: 3912: 3905: 3901: 3898: 3893: 3891: 3889: 3881: 3875: 3866: 3857: 3851:Jensen, p. 95 3848: 3839: 3832: 3827: 3825: 3815: 3808: 3804: 3800: 3794: 3792: 3776:. Google Maps 3775: 3769: 3760: 3751: 3742: 3735: 3729: 3723:Jensen, p. 85 3720: 3718: 3708: 3699: 3690: 3681: 3674: 3668: 3658: 3654: 3648: 3641: 3637: 3633: 3630: 3624: 3622: 3612: 3603: 3593: 3590: 3584: 3574: 3570: 3564: 3555: 3546: 3536: 3532: 3526: 3517: 3508: 3501: 3497: 3494: 3489: 3487: 3485: 3483: 3481: 3479: 3477: 3475: 3473: 3471: 3469: 3467: 3460:Orledge, p. 4 3457: 3451:Holmes, p. 58 3448: 3439: 3433:Jensen, p. 60 3430: 3423: 3419: 3416: 3411: 3409: 3407: 3405: 3403: 3393: 3384: 3377: 3372: 3363: 3356: 3352: 3349: 3344: 3342: 3340: 3338: 3336: 3326: 3317: 3308: 3299: 3290: 3281: 3272: 3263: 3254: 3245: 3236: 3230:Jensen, p. 27 3227: 3218: 3209: 3200: 3193: 3189: 3186: 3180: 3178: 3168: 3159: 3150: 3141: 3132: 3125: 3121: 3117: 3114: 3109: 3100: 3091: 3082: 3072: 3068: 3062: 3060: 3058: 3048: 3039: 3030: 3021: 3014: 3010: 3007: 3002: 3000: 2998: 2996: 2994: 2984: 2977: 2973: 2970: 2965: 2956: 2949: 2945: 2942: 2937: 2935: 2933: 2931: 2929: 2919: 2910: 2901: 2892: 2890: 2888: 2886: 2884: 2882: 2880: 2878: 2876: 2874: 2872: 2870: 2868: 2866: 2864: 2862: 2860: 2858: 2856: 2854: 2852: 2850: 2848: 2846: 2836: 2832: 2820: 2816: 2812: 2808: 2802: 2795: 2789: 2782: 2776: 2768: 2763: 2754: 2747: 2740: 2731: 2721: 2714: 2713: 2708: 2704: 2703:Roger Nichols 2700: 2694: 2687: 2686: 2679: 2670: 2663: 2659: 2655: 2651: 2647: 2643: 2639: 2633: 2625: 2619: 2612: 2611:Gabriel Fauré 2608: 2602: 2594: 2588: 2581: 2577: 2573: 2567: 2560: 2559:Paul Verlaine 2556: 2549: 2540: 2532: 2531: 2524: 2520: 2508: 2506: 2501: 2499: 2495: 2494: 2490:, and in the 2489: 2485: 2481: 2477: 2473: 2469: 2465: 2464:Claire Croiza 2461: 2457: 2453: 2449: 2445: 2441: 2437: 2436:Alfred Cortot 2433: 2429: 2425: 2424:Ricardo Viñes 2420: 2418: 2414: 2410: 2406: 2402: 2398: 2394: 2384: 2382: 2378: 2377: 2372: 2371:Stephen Hough 2367: 2366:(2001–2006). 2365: 2361: 2357: 2353: 2349: 2345: 2341: 2340: 2335: 2331: 2327: 2322: 2320: 2316: 2312: 2308: 2304: 2300: 2296: 2291: 2289: 2288: 2283: 2279: 2275: 2274: 2273:Káťa Kabanová 2269: 2265: 2260: 2256: 2254: 2253: 2248: 2247:Roger Nichols 2239: 2230: 2228: 2224: 2220: 2219:Paul Verlaine 2216: 2212: 2208: 2204: 2200: 2196: 2195: 2190: 2189: 2184: 2183: 2178: 2174: 2173: 2168: 2167: 2162: 2158: 2157: 2152: 2148: 2147: 2142: 2138: 2134: 2131:, he drew on 2130: 2125: 2123: 2119: 2115: 2108: 2104: 2095: 2092: 2091:Charles Rosen 2088: 2084: 2083: 2078: 2074: 2073:Gustav Mahler 2069: 2063: 2061: 2057: 2053: 2049: 2044: 2038: 2033: 2029: 2025: 2020: 2018: 2014: 2013: 2009: 2005: 2004: 1999: 1995: 1991: 1990: 1985: 1984:Pour le piano 1981: 1977: 1976: 1970: 1968: 1964: 1960: 1959: 1954: 1953: 1948: 1944: 1940: 1936: 1931: 1929: 1925: 1921: 1916: 1911: 1909: 1905: 1901: 1897: 1896: 1895:Boris Godunov 1891: 1887: 1883: 1879: 1875: 1871: 1867: 1863: 1862: 1857: 1853: 1847: 1841: 1826: 1824: 1819: 1815: 1811: 1810: 1805: 1799: 1797: 1793: 1789: 1785: 1781: 1777: 1773: 1768: 1748: 1742:Musical idiom 1739: 1737: 1733: 1729: 1725: 1721: 1714: 1709: 1707: 1703: 1698: 1696: 1692: 1688: 1682: 1680: 1676: 1672: 1668: 1663: 1660: 1656: 1652: 1648: 1644: 1636: 1635: 1630: 1626: 1612: 1610: 1606: 1605: 1600: 1599: 1594: 1589: 1585: 1584: 1579: 1577: 1573: 1569: 1565: 1564: 1559: 1558: 1553: 1552: 1544: 1542: 1518: 1517: 1495: 1494: 1486: 1469: 1467: 1463: 1459: 1455: 1451: 1447: 1443: 1439: 1438: 1433: 1432: 1421: 1418: 1414: 1410: 1406: 1402: 1398: 1397: 1392: 1384: 1379: 1377: 1373: 1369: 1365: 1361: 1357: 1353: 1349: 1345: 1341: 1340:cross-rhythms 1337: 1332: 1330: 1329: 1328:Pour le piano 1324: 1323: 1318: 1317: 1312: 1311: 1306: 1302: 1298: 1297:Pierre Boulez 1294: 1293: 1284: 1283: 1277: 1268: 1266: 1262: 1258: 1254: 1250: 1249: 1244: 1243: 1238: 1237: 1232: 1231: 1225: 1221: 1217: 1216: 1211: 1207: 1203: 1198: 1196: 1192: 1188: 1187: 1182: 1181: 1176: 1175: 1170: 1166: 1165: 1160: 1159: 1154: 1147: 1145: 1133: 1117: 1115: 1096: 1094: 1072: 1070: 1069:Clair de Lune 1047: 1045: 1044:Lesure number 1041: 1037: 1033: 1027: 1022: 1020: 1014: 1011: 1010:Ernest Newman 1005: 995: 993: 989: 985: 981: 977: 973: 968: 965: 961: 960: 955: 950: 941: 937: 935: 934: 929: 925: 924: 919: 915: 914: 909: 908: 903: 899: 895: 891: 890:Gustav Mahler 886: 884: 880: 879:Covent Garden 876: 872: 868: 864: 858: 855: 851: 850: 845: 844: 839: 835: 831: 827: 818: 814: 812: 808: 807: 802: 797: 794: 790: 786: 782: 778: 774: 770: 769:Gabriel Fauré 765: 761: 757: 748: 739: 737: 733: 732: 727: 723: 719: 714: 712: 707: 703: 699: 698: 692: 690: 686: 682: 678: 677: 672: 668: 664: 663:Ricardo Viñes 660: 659:Maurice Ravel 656: 655: 649: 642: 641: 636: 631: 627: 625: 624:Opéra-Comique 621: 617: 613: 609: 605: 604: 600: 595: 593: 589: 585: 576: 570: 564: 562: 558: 557: 552: 548: 544: 541:in 1893. His 540: 534: 532: 528: 524: 518: 516: 512: 511: 506: 503: 499: 484: 480: 478: 474: 470: 469: 458: 456: 455: 450: 446: 441: 437: 436: 431: 427: 423: 418: 416: 412: 408: 404: 400: 396: 390: 388: 384: 380: 379: 375: 371: 365: 358: 353: 344: 342: 341: 336: 332: 328: 324: 320: 315: 312: 308: 304: 300: 294: 292: 288: 284: 280: 276: 272: 268: 264: 259: 257: 253: 249: 245: 240: 238: 234: 230: 226: 225:Seine-et-Oise 222: 210: 206: 203:Rue au Pain, 201: 192: 190: 186: 182: 178: 174: 170: 165: 163: 159: 158: 154:and the late 153: 152: 147: 143: 142: 137: 133: 129: 128: 123: 119: 115: 114: 109: 108: 103: 102: 96: 94: 93: 88: 83: 81: 80:Impressionist 76: 68: 64: 56: 43: 39: 37: 33: 19: 10873: 10856: 10839: 10827:from Commons 10822: 10801: 10720: 10713: 10460:Ecomodernism 10368: 10356: 10344: 10332: 10320: 10308: 10298:The Firebird 10296: 10284: 10272: 10260: 10248: 10236: 9751: 9662: 9652:Citizen Kane 9650: 9641:Fallingwater 9631:Villa Savoye 9618: 9606: 9594: 9582: 9570: 9560:Black Square 9558: 9546: 9534: 9522: 9510: 9498: 9486: 9378:Le Corbusier 9306:Architecture 8319: 8307: 8295: 8285:Mrs Dalloway 8283: 8271: 8259: 8247: 8235: 8223: 8108:Lowell (Amy) 7454: 7447: 7440: 7433: 7426: 7419: 7412: 7406:Compositions 7342:John Ireland 7336: 7215: 7207: 7199: 7180: 7172: 7164: 7156: 7133: 7125: 7119:Petite suite 7117: 7087: 7080: 7066: 7057: 7050: 7043: 7036: 7029: 7022: 7008: 7000: 6991: 6983: 6975: 6967: 6959: 6951: 6943: 6935: 6932:(1888, 1891) 6927: 6904:Cello Sonata 6891: 6831: 6812: 6804: 6796: 6788: 6769: 6761: 6753: 6734: 6726: 6718:(1893–1902) 6713: 6705: 6682: 6631:(ChoralWiki) 6589: 6570: 6551: 6532: 6511: 6489: 6469: 6449: 6444:Vallas, Léon 6424: 6404: 6384: 6364: 6343: 6324: 6302: 6281: 6260: 6241: 6220: 6196: 6170: 6153: 6125: 6103: 6081: 6064: 6042: 6020: 6001: 5978: 5955: 5932: 5912: 5893: 5871: 5841: 5809: 5788: 5767: 5743: 5724: 5707: 5704:Cain, Julien 5678: 5653: 5631: 5612: 5590: 5571: 5552: 5530: 5511: 5489: 5467: 5448: 5429: 5424:Garden, Mary 5405: 5386: 5367: 5344: 5323: 5303: 5283: 5263: 5245: 5225: 5206: 5186: 5166: 5144: 5122: 5102:The Guardian 5101: 5085: 5076: 5067: 5058: 5033: 5029: 5019: 5009: 5000: 4970: 4962: 4946: 4927: 4920:The Guardian 4919: 4903: 4894: 4885: 4876: 4867: 4858: 4849: 4844:Moreux p. 92 4840: 4829: 4820: 4811: 4800: 4788: 4777: 4769: 4753: 4742: 4739:"Symbolists" 4733: 4724: 4715: 4706: 4697: 4688: 4679: 4670: 4649: 4640: 4631: 4623: 4607: 4602:Evans, p. 77 4598: 4589: 4580: 4559: 4550: 4541: 4523: 4514: 4505: 4496: 4487: 4478: 4457: 4433: 4424: 4415: 4406: 4399:The Guardian 4398: 4382: 4374: 4369: 4348: 4339: 4330: 4321: 4310: 4283: 4274: 4265: 4254: 4248: 4241: 4232: 4221: 4215: 4196: 4175: 4152: 4144: 4128: 4119: 4110: 4089: 4078: 4051: 4020: 4000: 3991: 3982: 3971: 3938: 3929: 3920: 3911: 3879: 3874: 3865: 3856: 3847: 3838: 3814: 3806: 3802: 3798: 3778:. 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10198:St. Denis 10121:Diaghilev 9857:Schaeffer 9780:Hindemith 9759:Dutilleux 9731:Boulanger 9536:The Dance 9232:Tarkovsky 9225:Sternberg 9057:Hitchcock 8973:Dovzhenko 8889:Antonioni 8834:Stieglitz 8673:Metzinger 8624:Kokoschka 8603:Kandinsky 8017:Aldington 8010:Akhmatova 7927:Marinetti 7920:Mansfield 7871:Hemingway 7709:Symbolism 7528:Movements 7521:Modernism 7459:(Debussy) 7442:Nocturnes 7158:Beau soir 6894:for flute 6798:Nocturnes 6460:458329645 6375:636471036 6242:The Piano 6195:(1966) . 6162:500373060 6073:470370109 5954:(1991) . 5716:557859304 5652:(2019) . 5366:(1979) . 5255:613848806 5050:2639-7668 4375:Excelsior 3986:Cox, p. 6 3880:The Times 3734:Le Figaro 3673:The Times 2767:Roy Howat 2712:Le Figaro 2627:America." 2458:included 2350:, 1994), 2166:King Lear 2118:Symbolist 1908:arabesque 1878:Balakirev 1720:Roy Howat 1687:Printemps 1679:Nocturnes 1442:Nocturnes 1383:Nocturnes 1169:oratorios 992:Trocadéro 949:colostomy 894:Nocturnes 867:Nocturnes 793:vertebrae 781:Pourville 762:, son of 742:1903–1918 731:The Times 676:Nocturnes 527:bohemians 440:Fantaisie 430:Printemps 395:Donizetti 340:Swan Lake 146:Symbolist 107:Nocturnes 18:Debussyan 10733:Category 10334:Fountain 10238:Don Juan 10177:Nijinsky 10073:Wedekind 10052:Piscator 9947:Anderson 9871:Scriabin 9787:Honegger 9448:Sullivan 9434:Saarinen 9427:Rietveld 9420:Niemeyer 9392:Melnikov 9322:Bunshaft 9253:Truffaut 9218:Sjöström 9162:Pudovkin 9134:Minnelli 9099:Kurosawa 9092:Kuleshov 9022:Flaherty 8848:Vuillard 8827:Steichen 8785:Rousseau 8750:Pissarro 8729:O'Keeffe 8694:Mondrian 8645:Malevich 8638:Magritte 8610:Kirchner 8554:van Gogh 8505:Doesburg 8484:Delaunay 8477:Delaunay 8400:Brâncuși 8386:Boccioni 8349:Painting 8199:Williams 8122:Mallarmé 8038:Cendrars 7948:Platonov 7906:Lawrence 7899:Koestler 7836:Flaubert 7829:Faulkner 7794:Bulgakov 7723:Tonalism 7684:De Stijl 7668:Lettrism 7654:Futurism 7545:Art Deco 7456:Préludes 7281:Category 7075:Préludes 7017:Préludes 6961:Estampes 6510:(2001). 6446:(1933). 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