Claude DEBUSSY CENTENARY EDITION 2018
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Claude Achille Debussy Bewitching in Music, Bastard in Love
finaldeb.doc 14,506 Claude Achille Debussy Bewitching in music, Bastard in Love Born: Saint-Germain-en-Laye (near Paris), 22 August 1862 Died aged 55: Paris, 25 March 1918 There is a woman at each crossroad of Debussy’s life. Certainly women of all ages seemed fascinated by him, and they attached themselves to him like ivy to a wall. [Marcel Dietschy: A Portrait of Claude Debussy] He was - it’s all in his music - a very sensual man. [Maggie Teyte, soloist in Pelléas et Mélisande, 1908] Claude has still not recovered from the nibbles of your dear little mouth. [Debussy to Lilly Texier, 24 April 1899] She knew what she wanted and had come prepared. When, in reply to her knock, Claude opened the door, he saw that she was nude under her fur coat. [from Pierre La Mure’s novel: Clair de Lune] Let’s not mince words. Where most of his many women were concerned Debussy was a bastard! After his death there was a roaring trade in grotesque wax effigies, demanded by screaming feminists, of this monster with the renowned bulging cranium and double-forehead. I made that up about the effigy, of course, though it’s true that Debussy’s double forehead was always his most distinguishing physical feature. Double forehead or not, Oliver Reed was certainly the right man to play Debussy in Ken Russell’s BBC Omnibus Classic documentary of 1963, The Debussy Film, scripted by Melvyn Bragg. Russell selected Reed after seeing him on Juke Box Jury and being stunned by his physical resemblance to the composer. -
<I>Rapsodie Pour Orchestre Et Saxophone</I>, by Claude Debussy
Western Kentucky University TopSCHOLAR® Student Research Music 4-7-2008 Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/mus_stu_res Part of the Music Commons Recommended Citation Blum, Jonathon, "Rapsodie pour Orchestre et Saxophone, by Claude Debussy" (2008). Student Research. Paper 1. http://digitalcommons.wku.edu/mus_stu_res/1 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Student Research by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Music Student Research Western Kentucky University Year Rapsodie pour Orchestre et Saxophone, by Claude Debussy Jonathon Blum Western Kentucky University, [email protected] This paper is posted at TopSCHOLAR. http://digitalcommons.wku.edu/mus stu res/1 Rapsodie pour Orchestre et Saxophone, by Claude Debussy, Jonathon Blum The Rapsodie pour Orchestre et Saxophone composed by Claude Debussy is a very intriguing work that for all its musical merit remains pushed aside by many musicologists and ignored by the mainstream orchestral repertoire. Composed by Debussy in Paris in 1904 and published by Durand, this work lasts a duration of about ten minutes and features an orchestra with solo saxophone. 1 The piece was commissioned in 1903 by a wealthy Boston aristocrat/amateur saxophonist Mrs. Richard J. Hall, often referred to as Elise Hall. The Rapsodie was composed at the same time that Debussy was working on La Mer and when he was in a period of great distress in his own life. -
Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte A
EVOCATIONS FROM CHILDHOOD: STYLISTIC INFLUENCES AND MUSICAL QUOTATIONS IN CLAUDE DEBUSSY’S CHILDREN’S CORNER AND LA BOÎTE À JOUJOUX Hsing-Yin Ko, M.B., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: Vladimir Viardo, Major Professor Elvia Puccinelli, Minor Professor Frank Heidlberger, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Lynn Eustis, Director of Graduate Studies in the College of Music James Scott, Dean of College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Ko, Hsing-Yin, Evocations from Childhood: Stylistic Influences and Musical Quotations in Claude Debussy’s Children’s Corner and La Boîte à Joujoux. Doctor of Musical Arts (Performance), May 2011, 44 pp., 33 musical examples, bibliographies, 43 titles. Claude Debussy is considered one of the most influential figures of the late 19th century and early 20th centuries. Among the various works that he wrote for the piano, Children’s Corner and La Boîte à joujoux distinguish themselves as being evocative of childhood. However, compared to more substantial works like Pelléas et Mélisande or La Mer, his children’s piano music has been underrated and seldom performed. Children’s Corner and La Boîte à joujoux were influenced by a series of eclectic sources, including jazz, novel “views” from Russian composers, and traditional musical elements such as folk songs and Eastern music. The study examines several stylistic parallels found in these two pieces and is followed by a discussion of Debussy’s use of musical quotations and allusions, important elements used by the composer to achieve what could be dubbed as a unique “children’s wonderland.” Copyright 2011 by Hsing-Yin Ko ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ............................................................................................... -
Claude Debussy Ebook
CLAUDE DEBUSSY PDF, EPUB, EBOOK David J. Code | 216 pages | 15 Aug 2010 | Reaktion Books | 9781861897596 | English | London, United Kingdom Claude Debussy PDF Book That version of events is not corroborated by Debussy scholars such as Marcel Dietschy , Eric Frederick Jensen , Roger Nichols , Robert Orledge , Nigel Simeone or Stephen Walsh ; [67] and no mention of the Place de la Concorde appeared in even the most sensational press coverage at the time. London: Collins. See Article History. Jazz Latin New Age. London: Stainer and Bell. Chamber Music. Not a single idea is expressed fully, the form is terribly shriveled, and it lacks unity. Debussy had his piano lesson when he was 7 years old. For many follower composers, Debussy has successfully set up unique paradigm and tonal structure in his piece. String Quartet, L. Collaborated with. Jensen, Eric Frederick Debussy and Emma Bardac eventually married in , their troubled union enduring for the rest of his life. Debussy abandoned Dupont for her friend Marie-Rosalie Texier, known as "Lilly", whom he married in October , after threatening suicide if she refused him. At the Conservatoire, Debussy initially made good progress. Reti, Rudolph Estampes for piano gives impressions of exotic locations, with further echoes of the gamelan in its pentatonic structures. Mineola, US: Dover. Influenced by. Claude Debussy — Biography. Its origins are complex and fascinating, combining influences from poetry, the music of the Baroque period from around to , and Impressionism, a style in music following on from that in visual arts. His distinctive signature lay on the appealing combination of sensuality and modernism within mature composition that made his music known for its real beauty. -
'L'isle Joyeuse'
Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’ Esteban Buch To cite this version: Esteban Buch. Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’. Music and Letters, Oxford Univer- sity Press (OUP), 2019, 100 (1), pp.24-60. 10.1093/ml/gcz001. hal-02954014 HAL Id: hal-02954014 https://hal.archives-ouvertes.fr/hal-02954014 Submitted on 30 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Esteban Buch, ‘Climax as Orgasm: On Debussy’s “L’isle Joyeuse”’, Music and Letters 100/1 (February 2019), p. 24-60. Climax as Orgasm: On Debussy’s L’isle joyeuse This article discusses the relationship of musical climax and orgasm by considering the case of L’isle joyeuse, a piano piece that Claude Debussy (1862-1918) began in 1903, completing it in the Summer of 1904 soon after starting a sentimental relationship with Emma Bardac, née Moyse (1862-1934), his second wife and the mother of his daughter Claude-Emma, alias ‘Chouchou’ (1905-1919). By exploring the genesis of the piece, I suggest that the creative process started as the pursuit of a solitary exotic male fantasy, culminating in Debussy’s sexual encounter with Emma and leading the composer to inscribe their shared experience in the final, revised form of the piece. -
Narrative Expansion in the Trois Chansons De Bilitis
Debussy as Storyteller: Narrative Expansion In the Trois Chansons de Bilitis William Gibbons Every song cycle presents its audience with a narrative. Such an idea is hardly new; indeed, the idea of an unfolding plot or unifying concept (textual or musical) is central to the concept of the song cycle as opposed to a collection of songs, at least after the mid-nineteenth century.l A great deal of musico logical literature devoted to song cycles is aimed at demonstrating that they are cohesive wholes, often connected both musically, by means of key relationships, motivic recall, and similar techniques, and textually, by means of the creation of an overarching plot or concept.2 One type of narrative results from a poetic unit being set to music in its complete state, without alteration. I am interested here, however, in another type of narrative-one that unfolds when a composer chooses to link previously unrelated poems musically, or when a poetic cycle is altered by rearrangement of the songs or omission of one or more poems. This type of song cycle may create its own new narrative, distinct from its literary precursors. In an effort to demonstrate the internally cohesive qualities of these song cycles, typical analyses assume that the narrative is contained entirely within the musical cycle itself-that is, that it makes no external references. I do not mean to disparage this type of analysis, which often yields insight ful results; however, this approach ignores the audience's ability to make intertextual connections beyond the bounds of the song cycle at hand. -
DEBUSSY by Eldoni Gosto
DEBUSSY by Eldoni Gosto Based on true story Copyright (c) 2018 This [email protected] screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author. FADE IN: Little boy is making a steps to stage, we can’t see his face. The darkness. INT. DEBUSSY GRANDMOTHER’S HOUSE - DAY - 1866 Small, fine lighted room. Four-year old boy plays a piano (Für Elise). We can hear inexpirience in his playing, but he is enjoying it. His mother, 30 years old women, is washing dishes. VICTORINE DEBUSSY Claude, come here, I need your help! Debussy makes mistake in playing. DEBUSSY (Angry) What’s now, mum? VICTORINE DEBUSSY Go and call grandma, I need her! DEBUSSY I can’t, I’m practicing right now. VICTORINE DEBUSSY Now! DEBUSSY Just a second. VICTORINE DEBUSSY Do what I said, and then continue practicing! DEBUSSY Fine, why you get mad. VICTORINE DEBUSSY Because you don’t listen to me! EXT. GARDEN - SUNNY DAY Debussy run through the garden and find his grandma, old women, also old-fashioned, but you can see goodness in her eyes. (CONTINUED) CONTINUED: 2. EDMÉE MANOURY What my little lovebird want? DEBUSSY Grandma, come on in kitchen, mum needs you. EDMÉE MANOURY Oh, it’s really beautiful here in autumn... leaves are falling down, everything is so quiet... You don’t know what I’m saying, don’t you? Haha, what did you say? DEBUSSY Mum needs you in kitchen. EDMÉE MANOURY Oh, yes. Stupid old head. She starts to grumble. -
The Influence of the Symbolists and the Impresssionists on Claude Debussy
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1942 The Influence of the Symbolists and the Impresssionists on Claude Debussy Marie A. McDonagh Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the French and Francophone Language and Literature Commons Recommended Citation McDonagh, Marie A., "The Influence of the Symbolists and the Impresssionists on Claude Debussy" (1942). Master's Theses. 277. https://ecommons.luc.edu/luc_theses/277 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1942 Marie A. McDonagh THE INFLUENCE OF THE SYMBOLISTS AND THE IMPRESSIONISTS ON CLAUDE DEBUSSY by Marie A. McDonagh A thesis submitted in partial fUlfillment of the requirements for the degree of Master of Arts in Loyola University June, 1942 VITA Marie A. McDonagh was born in Chicago, Illinois, August 20, 1890. She was graduated from St. Xavier Academy, Chicago, Illinois, June 1908, and received a teacher's certificate from Chicago Normal College, Chicago, Illinois, February 1911, and a teacher's certificate from the Chicago Musical College, Chicago, Illinois, June 1918. The Bachelor of Philosophy degree with a major in French was conferred by the University of Chicago, Chicago, Illinois, December, 1924. Since September 1935 the writer has been engaged in teaching French and music in the Chicago High Schools. -
Graduate Recital
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1971 Graduate Recital Dow H. Young Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Education Commons Recommended Citation Young, Dow H., "Graduate Recital" (1971). All Graduate Plan B and other Reports. 649. https://digitalcommons.usu.edu/gradreports/649 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. GRADUATE RECITAL by D:>w H . Young Report of a recital performed in partial fu lfillment of the requirements for the degree of MASTER OF MUSIC in Music Education UTAH STATE UNIVERSITY Logan, Utah 1971 ACKNOWLEDGMENTS The writer wishes to express thanks to his accompanist, Mrs. Bonnie Bennett, for her cooperation and help. He also extends appreciation to the fellow members of the Utah Symphony: violinists, Bonnie Bennett and Art Peterson; violist, Dorothy Freed; and cellist, David Freed. Their assistance in the quintet performance was greatly appreciated. Thanks is also extended to the following: Dr. Max Dalby, long time friend and colleague, for his advice , counsel, and inspiration which certainly made all this possible. Mr. Loel Hepworth for generosity in loaning the soloist his bass c l arinet. My wife, Shirley, and family, Becky and Win, for their support, assistance, patience, and perseverance in the completion of this en deavor. -
Hommage À Debussy Works for Piano
Hommage à Debussy Works for Piano Julia Dahlkvist · Chenyin Li Juliana Steinbach · Amir Tebenikhin Hommage à Debussy Works for Piano Content · Inhalt · Contenu TRACKLIST 3 ENGLISH Claude Debussy´s Grand Piano 8 Claude Debussy 12 DEUTSCH Der Flügel Claude Debussys 38 Claude Debussy 42 FRANÇAIS Le piano de Claude Debussy 71 Claude Debussy 76 IMPRESSUM 106 Tracklist CD I – CD IV CD I Juliana Steinbach 01 Valse romantique (1890-1) [03'37] 02 Rêverie (1890) [04'30] 03 Mazurka (1891) [03'12] Suite bergamasque (1890, publ. 1905) 04 Prélude [04'53] 05 Menuet [04'26] 06 Clair de lune [04'55] 07 Passepied [03'43] Pour le piano (1896 - 1901) 08 Prélude [04'11] 09 Sarabande [04'55] 10 Toccata [04'38] Images Série I (1905) 11 Reflets dans l'eau [05'42] 12 Hommage à Rameau [07'24] 13 Mouvement [03'40] 3 Images Série II (1907) 14 Cloches à travers les feuilles [04'06] 15 Et la lune descend sur le temple que fût [04'40] 16 Poissons d'or [04'34] 17 Valse - La plus que lente (1910) [04'11] Total Time [77'23] CD II Amir Tebenikhin 01 Arabesque N° 1 (1888) [04'21] 02 Arabesque N° 2 (1888) [03'57] 03 Danse bohémienne (1880) [02'11] 04 Ballade (slave) (1890-1) [08'14] 05 Danse (Tarentelle styrienne) (1890-1) [05'29] 06 Nocturne (1892) [07'53] Préludes Livre I (1910) 07 Danseuses de Delphes [03'07] 08 Voiles [04'25] 09 Le vent dans la plaine [02'32] 10 Les sons et les parfums tournent dans l'air du soir [04'18] 11 Les collines d'Anacapri [03'17] 4 12 Des pas sur la neige [04'44] 13 Ce qu'a vu le vent d'Ouest [03'45] 14 La fille aux cheveux de lin [02'45] 15 -
Debussy's Life Through His Letters
Union College Union | Digital Works Honors Theses Student Work 6-2015 Debussy’s Life through His Letters Phaik Suan Quah Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Composition Commons, and the Musicology Commons Recommended Citation Quah, Phaik Suan, "Debussy’s Life through His Letters" (2015). Honors Theses. 377. https://digitalworks.union.edu/theses/377 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. Debussy’s Life through His Letters By Phaik Suan Quah * * * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Music UNION COLLEGE November 2014 ABSTRACT QUAH, PHAIK SUAN Debussy’s Life throuGh His Letters. Department of Music, November 2014. ADVISOR: Dianne McMullen This thesis explores the life and works of French composer Claude Debussy through his letters. These letters were compiled by François Lesure and translated by Roger Nichols. Several topics of interest emerGed from readinG Debussy’s letters, including his relationships with his closest friends throughout his lifetime, his experiences as winner of the Prix de Rome, his struGGles, his perception of works written by other composers, his perception of music, and his perception of his own music. Debussy’s letters give the reader unique insights into his life. He relied on his friends for support and they were imperative to his success. This was especially true while he was struGGlinG with his marriaGes, his finances, his friendships, and most importantly his work. -
San Diego Symphony Orchestra a Jacobs Masterworks Classical Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CLASSICAL CONCERT January 8 and 10, 2016 CLAUDE DEBUSSY L’isle joyeuse (Orch. Bernardino Molinari) MAURICE RAVEL Piano Concerto for the Left Hand in D Major Marc-André Hamelin, piano INTERMISSION GEORGE GERSHWIN Rhapsody in Blue (Orch. Frede Grofé) Marc-André Hamelin, piano SERGEI RACHMANINOFF Cinq Études-tableaux (Orch. Ottorino Respighi) The Sea and the Seagulls The Fair Funeral March Little Red Riding Hood and the Wolf March L’isle joyeuse CLAUDE DEBUSSY (Orch. Bernardino Molinari) Born August 22, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris After years of struggle, Debussy finally achieved success with his opera Pelléas and Mélisande in 1902 and began work on La mer. Then came a complete change. In June 1904, Debussy abandoned his wife of five years and ran off with Emma Bardac, a singer and the estranged wife of a wealthy banker. In the first rush of excitement, Debussy took Emma to the Isle of Jersey off the Normandy coast, and it was there, during the summer of 1904, that he composed his L’isle joyeuse. Debussy frequently drew his inspiration from contemporary sources, but for this brief piano piece he turned to the past, specifically to an early eighteenth-century painting, L’embarquement pour Cythère by the French painter Jean-Antoine Watteau (1684-1721). Watteau’s painting depicts the moment of departure of a group of revelers for the island of Aphrodite, goddess of erotic love, and Debussy sets out to duplicate the sensual expectancy of such a scene. It is hard not to believe that the details of Debussy’s own life – he too was escaping to an island with a new lover – were the direct inspiration for this spirited music.