Debussy
Debussy
Debussy
Claude Debussy
Country France
Birth Aug 22, 1862 in St.-Germain-en-Laye, France
Death Mar 25, 1918 in Paris, France
Period Modern
Composition All Works (300)
Types Keyboard Music (117)
Vocal Music (112)
Chamber Music (24)
Orchestral Music (18)
Choral Music (13)
Opera (5)
Ballet Music (3)
Concerto (2)
Symphony (1)
Claude Debussy (1862 - 1918) was among the most important French
composers of the late nineteenth and early twentieth centuries. Al-
though he himself disliked the association, his music was, and has re-
mained, strongly associated with the techniques and ideals of impres-
sionist painting as well as those of the French symbolist writers. His
use of non-traditional scales and tonal structures would serve as
paradigms for many composers to follow.
Debussy began piano studies at the Paris Conservatory at the age of
11. There, he encountered the wealthy Nadezhda Filaretovna von Meck
(Tchaikovsky's benefactress), who took him under her wing and,
through travel, concerts and acquaintances, provided him with a
wealth of musical experience. Most importantly, she exposed the young Debussy to the works of
Russian composers, such as Borodin and Mussorgsky, who would remain important influences
on his music.
Debussy began composition studies in 1880, and in 1884 he won the prestigious Prix de Rome
with his cantata L'Enfant prodigue. This prize financed two years of further study in Rome --
years that proved to be creatively frustrating. The period immediately following, however, would
prove seminal for the young composer; trips to Bayreuth and the Paris World Exhibition (1889)
established, respectively, his dislike of Wagner, whose music he felt was unduly influential, and
his fascination with the music of eastern cultures, both of which would significantly contribute to
the development of his mature style.
Debussy wrote successfully in most every genre, adapting his distinctive compositional lan-
guage to the demands of each. His orchestral works, of which Prélude à l'après-midi d'un faune
(Prelude to the afternoon of a faun, 1894) and La Mer (The sea, 1905) are most familiar, estab-
lished him as a master of instrumental color and texture. It is undoubtedly this attention to tone
color -- his layering of sound upon sound so that they blend to form a greater, evocative whole --
that established him forever as the exponent of musical impressionism.
His works for solo piano, particularly his collections of Préludes and Études, which have re-
mained staples of the performing repertoire since their composition, bring into relief his assimil-
ation of elements from both Eastern cultures and antiquity -- especially pentatonicism (the use of
five-note scales), modality (the use of scales from ancient Greece and the medieval church), par-
allelism (the parallel movement of chords and lines), and the whole-tone scale (the octave di-
vided into six equal intervals -- arguably the most characteristic element of Debussy's musical
language).
His most famous opera, Pelléas et Mélisande (1902), and his collections of songs for solo voice
establish the strength of his connection to French literature and poetry. The writings of Mallarmé,
Maeterlinck, Baudelaire, and his childhood friend Paul Verlaine figure prominently in his choices
of texts, and form a symbiosis of expression and mood with the composer's style. -- Allen
Schrott
Keyboard Music
Chamber
Quintet for Mixed Instruments without
1900 -1901 Bilitis, for 2 flutes, 2 harps & celesta, L. 96/5 Keyboard
Quintet for Mixed Instruments without
1900 -1901 Chanson, for 2 flutes, 2 harps & celesta, L. 96/4 Keyboard
Quintet for Mixed Instruments without
1900 -1901 Chant pastoral, for 2 flutes, 2 harps & celesta, L. 96/1 Keyboard
Quintet for Mixed Instruments without
1900 -1901 Les comparaisons, for 2 flutes, 2 harps & celesta, L. 96/2 Keyboard
Quintet for Mixed Instruments without
1900 -1901 Les contes, for 2 flutes, 2 harps & celesta, L. 96/3 Keyboard
Les courtisanes égyptiennes, for 2 flutes, 2 harps & celesta, L. Quintet for Mixed Instruments without
1900 -1901 Keyboard
96/8
La danseuse aux crotales, for 2 flutes, 2 harps & celesta, L. Quintet for Mixed Instruments without
1900 -1901 Keyboard
96/10
Quintet for Mixed Instruments without
1900 -1901 L'eau pure du bassin, for 2 flutes, 2 harps & celesta, L. 96/9 Keyboard
1882 Intermezzo for cello & orchestra (or piano), L. 27 Cello with Keyboard
Musique de scène pourles Chansons de Bilitis, for 2 flutes, 2 Quintet for Mixed Instruments without
1900 -1901 Keyboard
harps & celesta, L. 96
1882 Nocturne and Scherzo, for cello & piano, L. 26 Cello with Keyboard
Quintet for Mixed Instruments without
1900 -1901 La partie d'osselets, for 2 flutes, 2 harps & celesta, L. 96/5 Keyboard
1910 Petite pièce, for clarinet & piano (or orchestra), L. 120 Clarinet Solo/Sonata
Trio for Keyboard and Two String In-
1879 Piano Trio, L. 3 struments
Quintet for Mixed Instruments without
1900 -1901 La pluie du matin, for 2 flutes, 2 harps & celesta, L. 96/12 Keyboard
1909 -1910 Rhapsodie for clarinet & piano (or orchestra), L. 116 Clarinet Solo/Sonata
1915 Sonata for cello & piano, L. 135 Cello with Keyboard
1916 -1917 Sonata for violin & piano, L. 140 Violin with Keyboard
Trio for Mixed Instruments without
1915 Sonate en trio for flute, viola, & harp, L. 137 Keyboard
Le souvenir de Mnasidica, for 2 flutes, 2 harps & celesta, L. Quintet for Mixed Instruments without
1900 -1901 Keyboard
96/11
1893 String Quartet, L. 85 (Op. 10) Quartet for Four String Instruments
1913 Syrinx, for solo flute, L. 129 Flute Solo/Sonata
Quintet for Mixed Instruments without
1900 -1901 Le tombeau sans nom, for 2 flutes, 2 harps & celesta, L. 96/7 Keyboard
Work(s) for clarinet & piano Clarinet Solo/Sonata