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The music of Claude Debussy, with its unique textures and dazzling colors, was the perfect counterpart of the bold new painting in France, the canvases of Manet, Monet, and Degas from the Impressionist generation, Gauguin, Van Gogh, and Toulouse-Lautrec in the eighties and nineties, and Matisse in the new century. Debussy drew inspiration, too, from the sensual poetry of Verlaine, Baudelaire, and Mallarme; the exotic sounds of the Orient; the circus and the music-hall; and the playful world of his little daughter Chou-chou. In the first years of the twentieth century, his keenly visual imagination and his awareness of the piano as an instrument of illusion gave birth to music of a confident originality, a new music entirely at one with the instrument that creates it. British pianist Paul Roberts uses his love and understanding of the repertoire and his musical imagination to probe the sources of Debussy's artistic inspiration, relating the "impressionist" titles to the artistic and literary ferment of the time. With clarity and insight, Roberts touches on all the principal technical problems for a performer of Debussy's piano music. Roberts details how influential these prints were on painters e. Chapter 5 deals with Debussy's disdain for the term constantly associated with him: "I'm trying to do 'something else'--in a way realities--what imbeciles call 'impressionism,' a term as misused as it could possibly be" Debussy in a letter to his publisher, Jacques Durand. The sixth chapter is a masterful discussion of the relationship between music and painting and poetry in Paris during the last part of the century. Roberts's extensive knowledge' of the world of painting and poetry in Paris of the late nineteenth century stands him in good stead throughout pan 1, and these first six chapters should he invaluable to all who have an interest in the cultural atmosphere in which Debussy lived, composed, and performed. The second pan of the book is addressed more specifically to musicians, especially pianists. They provide more information on the creative stimulus for Debussy's most important piano works and also offer Roberts's thoughts on how those works should be interpreted. He continues with a good deal of technical instruction on the best means for a pianist to achieve the desired interpretation, stressing varieties of tone color. Roberts is indeed a marvelous interpreter of Debussy, carefully adhering to the authentic text as given in the new CEnvres completes, but always making the most of his sense of line and color, from the most delicate nuance of Les Sons et les parfums tournent dans l'air du soir to the violent assault of Ce qu'a vu le vent d'Ouest. An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while. Read preview. Images (composition) - Wikipedia

Visual imagery seems to be behind even those pieces that are clearly the result of his fascination with the Javanese gamelan. When [he title of a piece was taken from a poem or fairy tale, a picture apparently formed itself in his mind, 'finis, the title of Roberts's book is particularly apt. The six chapters of "Background" make up part I, which begins with an informative discussion of the artistic scene in fin de Steele Paris. In painting, the catchwords were impressionism, postimpressionism, symbolism, and realism. The first chapter discusses these terms and Debussy's relationship to them, Debussy, like most of the later nineteenth-century artistic community, was fascinated by the Orient, particularly the Japanese prints of Hokusai and Hiroshige. Roberts details how influential these prints were on painters e. Chapter 5 deals with Debussy's disdain for the term constantly associated with him: "I'm trying to do 'something else'--in a way realities--what imbeciles call 'impressionism,' a term as misused as it could possibly be" Debussy in a letter to his publisher, Jacques Durand. The sixth chapter is a masterful discussion of the relationship between music and painting and poetry in Paris during the last part of the century. Not to be confused with Images pour orchestre. Reflets dans l'eau. Performed by Giorgi Latso. National Library of France. Retrieved 27 December Debussy: The Quiet Revolutionary. New York: Amadeus Press. University of Washington. Hamelin executes the intricate passagework with fluidity and ease, exposing an array of subtle tone colours. Claude Debussy. Piano Trio String Quartet Syrinx for flute Six sonatas for various instruments — Gene rated it really liked it Dec 24, Joshua Jackson rated it really liked it Dec 07, Filip rated it really liked it Aug 23, Lea rated it it was amazing Jan 17, David rated it it was amazing May 09, Frances rated it it was amazing Nov 24, Sean Roe rated it really liked it Sep 16, Gizem rated it it was amazing Aug 22, Alice Ho rated it it was amazing Jun 15, Keith Foley rated it really liked it Apr 25, Kipahni marked it as to- read Jun 01, Jessica added it Jun 16, Shahna marked it as to-read Nov 28, Kalliope marked it as to-read Mar 02, Sarah added it May 10, Ioana- laura Turta marked it as to-read May 13, Daniel Lam marked it as to-read Jun 13, Lydia marked it as to-read Dec 25, Maritza marked it as to- read Jun 12, Anna marked it as to-read Sep 19, Andrea Marks marked it as to-read Nov 01, John Mcclure marked it as to-read Nov 21, Robert B Dvorkin marked it as to-read Apr 07, Leonard Davis added it Apr 27, Sasalee marked it as to-read Jun 17, Brooke marked it as to-read Jun 28, Amy marked it as to-read Jul 19, There are no discussion topics on this book yet. Readers also enjoyed. 9 Best debussy piano works images | debussy piano, music composers, classical music composers

Paul Roberts, the British pianist and teacher, who also has strong lies to France, focuses largely on specific paintings, prints, posters, and book illustrations that are known to have set Debussy's creative impulses in motion. Visual imagery seems to be behind even those pieces that are clearly the result of his fascination with the Javanese gamelan. When [he title of a piece was taken from a poem or fairy tale, a picture apparently formed itself in his mind, 'finis, the title of Roberts's book is particularly apt. The six chapters of "Background" make up part I, which begins with an informative discussion of the artistic scene in fin de Steele Paris. In painting, the catchwords were impressionism, postimpressionism, symbolism, and realism. The first chapter discusses these terms and Debussy's relationship to them, Debussy, like most of the later nineteenth-century artistic community, was fascinated by the Orient, particularly the Japanese prints of Hokusai and Hiroshige. Roberts details how influential these prints were on painters e. Chapter 5 deals with Debussy's disdain for the term constantly associated with him: "I'm trying to do 'something else'--in a way realities--what imbeciles call 'impressionism,' a term as misused as it could possibly be" Debussy in a letter to his publisher, Jacques Durand. The sixth chapter is a masterful discussion of the relationship between music and painting and poetry in Paris during the last part of the century. Roberts's extensive knowledge' of the world of painting and poetry in Paris of the late nineteenth century stands him in good stead throughout pan 1, and these first six chapters should he invaluable to all who have an interest in the cultural atmosphere in which Debussy lived, composed, and performed. The second pan of the book is addressed more specifically to musicians, especially pianists. They provide more information on the creative stimulus for Debussy's most important piano works and also offer Roberts's thoughts on how those works should be interpreted. Paul Roberts probes the sources of Debussy's artistic inspiration, relating the "impressionist" titles to the artistic and literary ferment of the time. He also draws on his own performing experience to touch on all the principal technical problems for a performer of Debussy's piano music. His many suggestions about interpreting the music will be particularly valuable to performers as well as listeners. Get A Copy. Hardcover , pages. Published April 1st by Amadeus Press first published More Details Original Title. Other Editions 2. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Images , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Jul 01, Melissa Ng rated it really liked it. A lovely interpretation of Debussy's piano music - finally, a book that doesn't merely rattle on about modulating keys! This book really led me to a deeper interest in Debussy's works - score one for Paul Roberts. Charles rated it it was amazing Oct 10, Svetlana Kotova rated it it was amazing Oct 16, Steven rated it it was amazing Jan 09, Katja rated it it was amazing Jan 05, Hsiangtu rated it it was amazing Mar 25, Joseph rated it really liked it Sep 05, Kristen Williams rated it it was amazing Aug 08, Larry Growney rated it it was amazing Sep 01, Chan Wan Ting rated it liked it Feb 09, Hanny rated it really liked it Apr 21, Gene rated it really liked it Dec 24, Joshua Jackson rated it really liked it Dec 07, Filip rated it really liked it Aug 23, Lea rated it it was amazing Jan 17, David rated it it was amazing May 09, Frances rated it it was amazing Nov 24, Sean Roe rated it really liked it Sep 16, Gizem rated it it was amazing Aug 22, Alice Ho rated it it was amazing Jun 15, Keith Foley rated it really liked it Apr 25, Kipahni marked it as to-read Jun 01,

Images: The Piano Music of Claude Debussy - Paul Roberts - Google книги

Original Title. Other Editions 2. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Images , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Jul 01, Melissa Ng rated it really liked it. A lovely interpretation of Debussy's piano music - finally, a book that doesn't merely rattle on about modulating keys! This book really led me to a deeper interest in Debussy's works - score one for Paul Roberts. Charles rated it it was amazing Oct 10, Svetlana Kotova rated it it was amazing Oct 16, Steven rated it it was amazing Jan 09, Katja rated it it was amazing Jan 05, Hsiangtu rated it it was amazing Mar 25, Joseph rated it really liked it Sep 05, Kristen Williams rated it it was amazing Aug 08, Larry Growney rated it it was amazing Sep 01, Chan Wan Ting rated it liked it Feb 09, Hanny rated it really liked it Apr 21, Gene rated it really liked it Dec 24, Joshua Jackson rated it really liked it Dec 07, Filip rated it really liked it Aug 23, These works are distinct from Debussy's Images pour orchestre. The first book was composed between and , and the second book was composed in With respect to the first series of Images , Debussy wrote to his publisher, Jacques Durand : "Without false pride, I feel that these three pieces hold together well, and that they will find their place in the literature of the piano The piece creates an image of water being not quite still, then becoming rapid, then decreasing in motion again. It is a sarabande honouring the memory of a Jean-Philippe Rameau. It is a perpetuum mobile , meaning that it is built around a continuous stream of notes. The piece is evocative of Indonesian gamelan music, which famously influenced Debussy. Other sources suggest it may have been inspired by actual goldfish swimming in a bowl. From Wikipedia, the free encyclopedia. Not to be confused with Images pour orchestre. Reflets dans l'eau. His many suggestions about interpreting the music, coming from a pianist who has performed the repertoire extensively, will be particularly valuable to performers as well as listeners. Impressionist or Symbolist? Three Japanese Prints.

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