Google rinde homenaje a claude debussy biography

Share Pin. A graduate of the Paris Conservatory, Debussy was a composer, a pianist, and the winner of the Grand Prix de Rome in His music was of great influence in the late 19 th and early 20 th centuries. Here are the top 10 interesting facts about Claude Debussy. His mother was a seamstress and his father owned a china shop. His family made the sacrifices necessary to start him in piano lessons when he was seven years old.

Claude Debussy Enrolled at the Conservatoire de Paris at the age of Eleven Claude Debussy had become interested in music at a very early age and learned to play piano at the age of 7 years. In at the age of eleven years, he was enrolled in the Paris Conservatory, an elite music college in France, where he studied the art of playing piano and music composition.

The college was founded inand it offers exclusive tuition and executive training at the highest level in music and sound technologies. A highly competitive school and has produced some of the best French music composers in its years of history. In at the age of 22, Debussy won the Prix de Rome award. It was a prestigious prize awarded to the best students of art in France.

He was awarded a full scholarship financed by the French government to go for further music studies in Rome, the capital of Italy. Claude Debussy Introduced Impressionism in Music Claude Debussy was amongst the notable music composers who remained affiliated with impressionist music, but he rejected the term for himself. He considered himself a modernist.

Irrespective of whatever his music was named, his composition and harmonies helped to shape the composers and musicians who emerged later on. Debussy hated having his compositions labeled as impressionist music. He felt that impressionism was a way critics tried to box his innovative works of art into a fixed mindset. According to Debussy, he was trying to do something different apart from everyone around him, and the style was good.

Until his death, Debussy did not accept the impressionist artist title. Claude Debussy Learned to Play the Piano at the age of 7 Induring the Franco-Prussian War, 7 years old Debussy and his sister were sent to live with their paternal aunt in Cannes. His aunt paid for his piano lessons, which he started to study with Jean Cerutti, who was an Italian music composer.

Debussy got a job as a piano instructor at the court of rich and wealthy composer Tchaikovsky, He was introduced by the patroness, Nadezhda von Meck, to him. He used to teach piano lessons to her children while she and her family were on vacation to Europe during the summers of the s. During this time, Debussy also performed at hotel concerts along with his group fellows.

The couple stayed together for six years and they dissolved their marriage in In Debussy underwent one of the earliest colostomy 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". Debussy died of colon cancer on 25 March at his home.

The military situation did not permit the honour of a public funeral with ceremonious graveside orations. In a survey of Debussy's oeuvre shortly after the composer's death, the critic Ernest Newman 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".

The analyst David Cox wrote in 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 experience". 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 music might be relevant to the twentieth century [ 88 ].

Debussy did not give his works opus numbersapart from his String Quartet, Op. 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 Georges Jean-Aubry commented that Debussy "admirably imitated Massenet's melodic turns of phrase" in the cantata L'enfant prodigue which won him the Prix de Rome.

He wrote his own poems for the Proses lyriques — but, in the view of the musical scholar Robert Orledge"his literary talents were not on a par with his musical imagination". 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 consonances and dissonances of colour, the apostle of languor, the exclusivist in thought and in style.

Halford cites the popular "Clair de Lune"the third of the four movements of Suite Bergamasqueas a transitional work pointing towards the composer's mature style. In the String Quartetthe gamelan sonorities Debussy had heard four years earlier are recalled in the pizzicatos and cross-rhythms of the scherzo. Orledge considers the last a pre-echo of the marine textures of La mer.

Estampes for piano gives impressions of exotic locations, with further echoes of the gamelan in its pentatonic structures. Some critics thought the treatment less subtle and less mysterious than his previous works, and even a step backward; others praised its "power and charm", its "extraordinary verve and brilliant fantasy", and its strong colours and definite lines.

Of the later orchestral works, Images — is better known than Jeux Although considering Images "the pinnacle of Debussy's achievement as a composer for orchestra", Trezise notes a contrary view that the accolade belongs to the ballet score Jeux. 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.

Lesure comments that they range from the frolics of minstrels at Eastbourne in and the American acrobat "General Lavine" "to dead leaves and the sounds and scents of the evening air". Writing soon after Debussy's death, Newman found them laboured — "a strange last chapter in a great artist's life"; [ 86 ] 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.

His fatal illness prevented him from completing the set, but those for cello and pianoflute, viola and harpand violin and piano — his last completed work are all concise, three-movement pieces, more diatonic in nature than some of his other late works. 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 Richard Langham Smith writes that Impressionism was originally a term coined to describe a style of late 19th-century French paintingtypically scenes suffused with reflected light in which the emphasis is on the overall impression rather than outline or clarity of detail, as in works by MonetPissarroRenoir and others. Among painters, Debussy particularly admired Turnerbut also drew inspiration from Whistler.

Debussy strongly objected to the use of the word "Impressionism" for his or anybody else's music, [ n 14 ] but it has continually been attached to him since the assessors at the Conservatoire first applied it, opprobriously, to his early work Printemps. Lockspeiser calls La mer "the greatest example of an orchestral Impressionist work", [ ] and more recently in The Cambridge Companion to Debussy Nigel Simeone comments, "It does not seem unduly far-fetched to see a parallel in Monet's seascapes".

In this context may be placed Debussy's pantheistic eulogy to Nature, in a interview with Henry Malherbe :. 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 stretching up their branches to the skies, the perfumed flowers gladdening the meadow, the gentle grass-carpeted earth, 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. Howat suggests that some of Debussy's pieces can be divided into sections that reflect the golden ratiowhich is approximated by ratios of consecutive numbers in the Fibonacci sequence.

Debussy wrote "We must agree that the beauty of a work of art will always remain a mystery [ Nevertheless, there are many indicators of the sources and elements of Debussy's idiom. Writing inthe critic Rudolph Reti summarised six features of Debussy's music, which he asserted "established a new concept of tonality in European music": the frequent use of lengthy pedal points — "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 parallel chords 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 bitonal chords; use of the whole-tone and pentatonic scales ; and unprepared modulations"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". InDebussy 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.

They may also indicate the influence on Debussy of Satie 's Trois Sarabandes. You have only to listen. Pleasure is the law! Debussy opined that Chopin was "the greatest of them all, for through the piano he discovered everything"; [ ] he professed his "respectful gratitude" for Chopin's piano music. A contemporary influence was Erik Satie, according to Nichols Debussy's "most faithful friend" amongst French musicians.

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 Richard Strauss [ ] and Stravinsky, respectful of Mozart and was in awe of Bachwhom he called the "good God of music" le Bon Dieu de la musique. 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 google rinde homenaje a claude debussy biography of our country? In Debussy had remarked to his publisher of the opera Ariane et Barbe-bleue by the also Jewish composer Paul Dukas"You're right, [it] is a masterpiece — but it's not a masterpiece of French music.

Despite his lack of formal schooling, Debussy read widely and found inspiration in literature. Lesure writes, "The development of free verse in poetry and the disappearance of the subject or model in painting influenced him to think about issues of musical form. They favoured poetry using suggestion rather than direct google rinde homenaje a claude debussy biography 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's literary inspirations were mostly French, but he did not overlook foreign writers. Pickwick Esq. Book 2, He wrote incidental music for King Lear and planned an opera based on As You Like Itbut abandoned that once he turned his attention to setting Maeterlinck's play. In he began work on an orchestral piece inspired by Edgar Allan Poe 's The Fall of the House of Usher and later sketched the libretto for an opera, La chute de la maison Usher.

Another project inspired by Poe — an operatic version of The Devil in the Belfry did not progress beyond sketches. Debussy is widely regarded as one of the most influential composers of the 20th century. In the aftermath of the First World War, the young French composers of Les Six 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 Jean Cocteau wrote in "Enough of nuageswaves, aquariums, ondines and nocturnal perfumes," pointedly alluding to the titles of pieces by Debussy. The pianist Stephen Hough believes that Debussy's influence also extends to jazz and suggests that Reflets dans l'eau can be heard in the harmonies of Bill Evans.

The and sets have been transferred to compact disc. Many of these early recordings have been reissued on CD. In more recent times Debussy's output has been extensively recorded. Into mark the centenary of the composer's death, Warner Classicswith contributions from other companies, issued a CD set that is claimed to include all the music Debussy wrote.

Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects. French classical composer — For other uses, see Debussy disambiguation. Debussy c. Life and career [ edit ]. Early life [ edit ]. Prix de Rome [ edit ]. Return to Paris, [ edit ]. Works [ edit ]. See also: List of compositions by Claude Debussy.

Early works, — [ edit ]. Clair de Lune Both arabesques performed in by Patrizia Prati. Problems playing these files? See media help. Middle works, — [ edit ]. Late works, — [ edit ]. La fille aux cheveux de lin. Style [ edit ]. Debussy and Impressionism [ edit ]. Musical idiom [ edit ]. Influences [ edit ]. Musical [ edit ].

Google rinde homenaje a claude debussy biography

Debussy in [ ]. Literary [ edit ]. Influence on later composers [ edit ]. Recordings [ edit ]. Notes, references and sources [ edit ]. Notes [ edit ]. His name was officially registered at the mairie on the day of his birth as "Achille Claude". In addition to displays depicting his life and work, the building contains a small auditorium in which an annual season of concerts is given.

She claimed to have studied with Chopinand 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, Paul Verlaine. Debussy did not publish it, and the manuscript remained in the von Meck family and was not published until After hearing Estampes 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 She is described in the Grove Dictionary of Music and Musicians as "a supreme singing-actress, with uncommonly vivid powers of characterization That version of events is not corroborated by Debussy scholars such as Marcel Dietschy, Roger NicholsRobert Orledge and Nigel Simeone; [ 67 ] and no mention of the Place de la Concorde appeared in even the most sensational press coverage at the time.

He wrote to Durand: "In Friedmann's [ sic ] preface Breitkopf Edition, which is quite superior to the PetersChopin's influence on Wagner is indicated for the first time". References [ edit ]. Frederick H. The interview was published in Excelsior magazine on 11 February Sources [ edit ]. Paris: Editions du Seuil. ISBN Blyth, Alan Opera on CD.

London: Kyle Cathie. Boulez, Pierre Serrou, Bruno ed. Brown, Matthew Bloomington: Indiana University Press. Cooke, Mervyn In Bellman, Jonathan ed. The Exotic in Western Music. Boston: Northeastern University Press. Cox, David Debussy Orchestral Music. London: BBC. Debussy, Claude []. Monsieur Croche the Dilettante Hater. New York: Dover.

OCLC Debussy, Claude Debussy Letters. Translated by Nichols, Roger. DeVoto, Mark In Trezise, Simon ed. The Cambridge Companion to Debussy. Cambridge: Cambridge University Press. Debussy and the Veil of Tonality. Hillsdale, NY: Pendragon Press. Dietschy, Marcel A Portrait of Claude Debussy. Translated by Ashbrook, William; Cobb, Margaret. Dumesnil, Maurice [].

Claude Debussy, Master of Dreams. Westport: Greenwood. Evans, Allan Ignaz Friedman: Romantic Master Pianist. Fulcher, Jane Debussy and his World. Princeton: Princeton University Press. Garden, Mary ; Biancolli, Louis Leopold Mary Garden's Story. Gorlinski, Gini, ed. New York: Britannica Educational Publishing. Halford, Margery Debussy: An Introduction to his Piano Music.

Van Nuys: Alfred. Hartmann, Arthur Claude Debussy as I knew him. Holloway, Robin Debussy and Wagner.