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Can debussys music become accurately described as

One other Symbolist factor to Debussy is that of his interest in Wagner, the Symbolists were hardcore admirers of his music. Debussy first encountered Wagner during his studies with the Paris Conservatoire in 1872. 17 Parallels can be attracted between both equally composers functions, especially in the commonalities between Tristan und Isolde (1860) and Pelli? while et Mi? lisande (1904), bothhave comparable thematic material and narrative methods and employ leitmotif liberally. 18 19 When Debussy later rejected Wagners compositional strategies, it is very clear that the Germans music a new great impact upon his own.

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20 Richard Holloway argues that Debussys music is too initial to be classed as Wagnerian, but keeps that it could not exist with out Wagner. 21 years old A further affect excluded by categorisation of Impressionism is that of Exoticism. In 1889 he attended the Exposition Universelle where he found out East Hard anodized cookware music, namely gamelan, said to be influences upon both Fantaisie (1889-90) and Pour le piano (1901). 22 Debussys love of Japan is usually clearly demonstrated by Pagodes (Estampes, 1903) and of The country by Ibi? ria (Images, 1905-12), Votre si? ri?

nade interrompue (Pri? ludes: Livre My spouse and i, 1910) and La puerta del vino (Pri? ludes: Livre 2, 1913). Regardless of attempts to label Debussys music, which will he struggled strongly against throughout his life, it can be clear that no hazy label could be definitively put on any of his works, aside from as a whole. His attempts to be able to free of such labels present a clear drive for individuality, whilst this individual identified with all the Impressionists and Symbolists and took creativity from a wide variety of sources, he was unwilling to become reduced to a mere total of his influences.

twenty three The scholarly consensus appears to be that the use of Impressionism (or any -ism) as a descriptive term is actually a simplification that does tiny justice for the complexity of Debussys music. The usage of Debussyism by Debussys followers and critics may well have frustrated him, nonetheless it demonstrates that his music was unique enough to escape from the irrelavent categorisation he so despised. Claude Debussy, Impressionist or else, has left a long-lasting impression after the world of music.

Word Depend: 1996 Bibliography Lockspeiser, Edward cullen, Debussy, subsequent ed (London: Dent, 1963)Lockspeiser, Edward, Debussy: his life and brain (Melbourne: Cassell, 1962), 1 (1862 1902) Palmer, Christopher, Impressionism in Music (London: Hutchinson, 1973) Pool, Phoebe, Impressionism (London: Thames and Hudson, 1967) Roberts, Paul, Images: The Piano Music of Claude Debussy (Portland, Oregon: Amadeus Press, 1996) Roberts, Paul, Claude Debussy (London: Phaidon Press Limited, 2008) Schmitz, E. Robert, The Piano Works of Claude Debussy (New York: Dover, 1966) Tresize, Simone, Debussy: La mer (Cambridge: Cambridge University or college Press, 1994) Holloway, Robin the boy wonder, Debussy and Wagner (London: Eulenberg Ebooks, 1979).

1 Paul Roberts, Claude Debussy (London: Phaidon Press Limited, 2008), p. 66. a couple of E. Robert Schmitz, The Piano Performs of Claude Debussy, subsequent edn (New York: Dover Publications, 1966), p. 13. 3 Christopher Palmer, Impressionism in Music (London: Hutchinson, 1973), p. 13. four Schmitz, p. 66. a few Paul Roberts, Images: The Piano Music of Claude Debussy (Portland, Oregon: Amadeus Press, 1996), p. 116. 6 Schmitz, pp. 13-15. 7 Christopher Palmer, Impressionism in Music (London: Hutchinson, 1973), pp. 17-19. eight Ibid., p. 18. 9 Simon Tresize, Debussy: La mer (Cambridge: Cambridge College or university Press, 1994), p. 37. 10 Ibid., pp. 35-37. 11 Schmitz, p. 135. 12.

Edward Lockspeiser, Debussy, 2nd impotence (London: Damage, 1963), l. 156 13 Schmitz, s. 134. 18 Ibid., pp. 136-137. 12-15 Roberts, Photos, p. 249. 16 Schmitz, p. 136. 17 Roberts, Claude Debussy, p. 67. 18 Ibid., p. 44. 19 Ibid., pp. 106-107. 20 Ibid. pp. 41-42. 21 Robin the boy wonder Holloway, Debussy and Wagner (London: Eulenberg Books, 1979), p. 16. 22 Frani? ois Lesure, Debussy, Claude. Oxford Music Online. &lt, oxfordmusiconline. com/subscriber/article/grove/music/07353&gt,. 23 Roberts, Images, p. 121.

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