• Claude Debussy died of cancer in 1918.
  • L 75 no 3.
  • 'Clair de Lune' was orchestrated by Andre Caplet.

On the letter from Louÿs to Debussy (1895 Nov.27th), Louÿs invited Debussy to the project.

Claude Debussy's music is intelligent, for lack of a better word.

Another highly famous composition is the piano piece Clair de Lune.

And yes, Debussy named the work using English, not French.

Although he himself wished to reserve the term for the visual arts, Claude Debussy (1862-1918) has often been considered the founder of musical Impressionism.

It's the first complete work conserved of Debussy (16 years old).

Debussy completed in 1895 but worked on the orchestration for six more years while trying to arrange for a performance. In contrast to the accepted way of stimulating interest in and introducing novel stage works, Debussy refused to allow excerpts to be presented in concert or as an orchestral suite, insisting instead that the opera be given whole or not at all. After many delays, finally was produced for the 1902 season of the Opéra-Comique in Paris. (In the meantime, the play had attracted other prominent composers – in addition to the Fauré incidental music, Arnold Schoenberg was writing a forty-minute tone poem that conveyed the whole story, and Jean Sibelius produced a suite for a 1905 Finnish production.)


Claude Debussy - The Complete Works

Beyond its intrinsic fascination, perhaps the most intriguing aspect of Debussy’s inspired structure has been the persistent critical comparisons with Wagner. Debussy had fallen under Wagner’s spell when he saw at Bayreuth in 1889, and, as Griffiths notes, his luminous orchestration of (as if "lit from behind") owes much to . Even so, Debussy came to disparage Wagner’s use of (that is, short, recurring melodic fragments associated with a character or situation) as simplistic “calling cards” needed to guide those who otherwise would be lost in a score, and claimed that his own approach would be far different.

The war depressed Debussy into a state of creative sterility, but the summer of 1915 marked the start of a new productive era: in quick succession he composed the Cello Sonata, En blanc et noir, the , and the Sonata for flute, viola and harp.

This complete edition brings together all Debussy’s known works

Even during Debussy's lifetime, critics compared his music to the Impressionist painters and indeed applied the term Impressionism to his music. Debussy himself often compared his music to painting, but unfortunately rarely to the Impressionists, much of whose work he didn't even like. To me, the expressive goals of Debussy and those of the Impressionists converge at some points and diverge at others. Both aim for a rapture in the presence of nature, sensual as opposed to transcendental, and Debussy's orchestration in "points of color" rather than in the Germanic tradition of functional orchestration based ultimately on organ registration certainly has analogies to Impressionist brushwork. However, Debussy does not reproduce "impressions," but physical realities. Something like "Poissons d'or" gives a detailed account of the flash of fishtails, the sudden darting change of course of goldfish, rather than some vague impression. Nevertheless, we're probably stuck with the term Impressionism for some time to come. ~

The Complete Works List of Claude Debussy - …

Debussy himself spoke little of his aesthetic intentions, and then only in epigrams. Perhaps the closest he came to a self-analysis was in a letter he wrote to the Opéra-Comique for a revival of . He stated that he hated classical development, whose beauty was merely technical, but desired music of freedom, not confined to reproducing nature, but devoted to the mysterious affinity between nature and the imagination. He felt that the Wagnerian formula could not serve as a model for future development and sought his own course in which a character’s feelings could not be expressed in antiquated traditional melody but required a new concept of dramatic melody, for which the sensitiveness of the suggestive language of the Maeterlinck play was an ideal vehicle.

Playing Debussy's Piano Works « An amateur's …

The rarefaction of these works is a feature of the last set of songs, the"Trois poèmes de Mallarmé" (1913), and of the "Sonata forflute, viola and harp" (1915), though the and its companions also recapture the inquisitive Verlainian classicism.