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This first comprehensive guide to Debussy's only completed opera, Pelléas et Mélisande was written by the leading authorities on French music of the period. As a background to the opera, the authors, together with David Grayson, discuss various aspects of the play. They consider its literary roots, trace its genesis and composition, and illuminate Debussy's compositional strategies. A detailed synopsis of Debussy's musical response to the text forms a central chapter. This is followed by an examination of the symbols and musical motives employed by Debussy as well as an analysis of his themes. The book concludes with a detailed bibliography and a discography.
The colourful lives of the three divas who made Debussy's Mélisande their own.
Some of Debussy's most beloved pieces, as well as lesser-known ones from his early years, set in a rich cultural context by leading experts from the English- and French-speaking worlds. The music of Claude Debussy has always been widely beloved by listeners and performers alike, more perhaps than that of any of the other pioneers of musical modernism. However rich in itself, his creative output also participated, and continues to participate, in a network of cultural connections, the scope and meaning of which can only be gleaned through multiple interpretive frameworks. Debussy's Resonance offers twenty new studies by some of themost active and respected English- and French-language scholars of French music. The book treats a large swath of the composer's music, from previously unexplored mélodies of his early years to late pieces such as the ballet Jeux and the Douze Études, and takes into consideration the numerous contexts that helped shape the works and the different ways that musicologists and critics have explained them. CONTRIBUTORS: Katherine Bergeron, Matthew Brown, David J. Code, Mark DeVoto, Michel Duchesneau, David Grayson, Denis Herlin, Jocelyn Ho, Roy Howat, Steven Huebner, Julian Johnson, Barbara L. Kelly, Richard Langham Smith, Mark McFarland, François de Médicis, Robert Orledge, Boyd Pomeroy. Caroline Rae, Marie Rolf, August Sheehy FRANÇOIS DE MÉDICIS is Professor of Music at the Université de Montréal. STEVEN HUEBNER is Professor of Music at McGill University.
Claude Debussy, who composed works of major significance in a wide range of musical and theatrical genres, has exerted a fundamental influence on musicians of the twentieth century. This book explores how Debussy's compositions are brought to life in performance, investigating the composer's own expectations, the traditions surrounding the performance of his music, and the internal and contextual evidence that can give insight to performers of his works. Leading international scholars and interpreters of Debussy's music draw on his letters and music criticism as well as on the memoirs of performers close to him to discuss issues of performance forces, tempo and its flexibility, performer license, and the interpretation of expressive indications in the scores. They urge performers to recognize the symbolism and the value of silence in Debussy's work. And they show that it is particularly important to focus on aspects of timbre, voice-leading, and the musical arabesque, together with meter and phrase ambiguities, when playing his music. The book also includes the translation of an article on the opera Pelleas et Melisande In performance by one of Debussy's original conductors, Desire-Emile Inghelbrecht, and an interview with the composer-conductor Pierre Boulez on approaches to Pelleas and the orchestral works.
English translation and revised edition of the most comprehensive and reliable biography of Claude Debussy. François Lesure's "critical biography" of Claude Debussy (Fayard, 2003) is widely recognized by scholars as the most comprehensive and reliable account of that composer's life and career as well as of the artistic milieu in whichhe worked. This encyclopedic volume draws extensively on Debussy's complete correspondence (at that time unpublished), a painstaking tracking of contemporary reviews and comments in the press, and an examination of other primary documents-including private diaries-that had not been available to previous biographers. As such, Lesure's book presents a wealth of new information while debunking a number of myths that had developed over the years since the composer's death in 1918. The present English translation and revised edition, by Debussy authority Marie Rolf, augments Lesure's numerous notes with several thousand new ones by Rolf, providing more precise information oncrucial and sometimes contentious points. It also reflects Debussy scholarship that has appeared since 2003, updating Lesure's seminal work. Rolf's translation-the first ever-will make Lesure's findings accessible to scholars, musicians, and music lovers in English-speaking lands and around the world. FRANÇOIS LESURE (1923-2001) was the Director of the Music division of the Bibliothèque nationale de France, Professor of Musicology at the Université libre de Bruxelles, and Chair of Musicology at the École pratique des Hautes Études. MARIE ROLF is senior associate dean of graduate studies and professor of music theory at the Eastman School of Music and a memberof the editorial board for the Ouvres complètes de Claude Debussy.
One of the most revered composers of the twentieth century, Claude Debussy (1862–1918) achieved the unheard of: he reinvented the language of music without alienating the majority of music lovers. Debussy drove French music into entirely new regions of beauty and excitement at a time when old traditions threatened to stifle it. Yet despite his profound influence on French culture, Debussy’s own life was complicated and often troubled by struggles over money, women, and ill health. Here, Stephen Walsh, acclaimed author of Stravinsky, chronicles both the composer himself and the unique moment in European history that bore him. Walsh’s engagingly original approach is to enrich a lively biography with analyses of Debussy’s music: from his first daring breaks with the rules as a Conservatoire student to his achievements as the greatest French composer of his time.
Debussy and the Theatre means, in effect, 'Debussy and Pellias et Milisande', the opera both established Debussy's mature style and changed the course of operatic history.
A collection of essays on Debussy exploring his working methods, visual tastes and his performance practice.
From the first, Debussy's music lent itself to all kinds of convenient critical labels, of which the most fashionable has always been 'impressionist'. In this book the doyen of Polish musicologists examines Debussy's output against the twin backgrounds of his upbringing and of contemporary movements in the other arts besides music. He concludes that the 'impressionist' analogy between music and painting has been too deceptively obvious, and that the movement with which Debussy's art is most deeply impregnated is Symbolism. This he shows by a review of the general aesthetic ferments of this age, by close analysis of Debussy's music, his early works in particular, and by well-directed quotation from Debussy's own many writings on the subject. In the course of his argument he leads the reader down many unexpected bypaths in aesthetics; his book is both an original contribution to musicology and a philosophical meditation on the whole of the art of this unusually fertile and adventurous period.