Jane Bathori was a catalyst for as well as interpreter of the works of many French composers. In 1904, she met Claude Debussy, played some of his piano pieces for him and sang several of his songs. Their discussions were the basis for her 1953 book, On the Interpretation of the Melodies of Claude Debussy which she resolved to write "after having heard Debussy's intentions betrayed so many times, and also to encourage singers ... to study some of the songs which are not known and are never sung, the excuse being that they are so difficult to interpret" (from Bathori's opening).
"In a study that is both scholarly and highly entertaining, Matthew Brown explores pop culture's appropriations of Debussy's music in everything from '30s swing tunes, '40s movie scores, '50s lounge/exotica, '70s rock and animation, '80s action films, and Muzak. The book, however, is far more than a compendium of fascinating borrowings. The author uses these musical transfers to tackle some of the most fundamental aesthetic issues relevant to the music of all composers, not just Debussy." David Grayson -- Book jacket.
Debussy's Late Style explores Claude Debussy's musical responses to World War I. This period of composition encompasses the duration of the war and the last four years of Debussy's life. The works that emerged during this time reflect both wartime events and the composer's self-conscious desire to define his own musical legacy as he felt his life nearing its end. Debussy's complete wartime compositions comprise a small but significant body of works, some little known and some now acknowledged to be among the masterpieces of his career. These include the Berceuse héroïque, En Blanc et noir, the Douze Études, the "Noël des enfants qui n'ont plus de maisons," and the three instrumental sonatas (the Cello Sonata; the Sonata for Flute, Viola, and Harp; and the Violin Sonata). Through music analysis, musicology, and cultural history, this study offers interpretive readings of Debussy's late works, focusing in particular on how they reflect the unique cultural milieu of wartime Paris.
Paris at the turn of the 20th century was obsessed with the interrelations of the arts. It was a time when artists and writers spoke of poetry as music, sounds as colors, and paintings as symphonies. The music of Claude Debussy, with its unique textures and dazzling colors, was the perfect counterpart to the bold new styles of painting in France. Paul Roberts probes the sources of Debussy's artistic inspiration, relating the "impressionist" titles to the artistic and literary ferment of the time. He also draws on his own performing experience to touch on all the principal technical problems for a performer of Debussy's piano music. His many suggestions about interpreting the music will be particularly valuable to performers as well as listeners.
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.
Claude Debussy's Complete Images (Books 1 and 2), Urtext Edition. Reproduce the original intention of the composer as exactly as possible, without any added or changed material.
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.
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.
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.
The contemporary music scene thus embodies a uniquely broad spectrum of activity, which has grown and changed down to the present hour. With new talents emerging and different technologies developing as we move further into the 21st century, no one can predict what paths music will take next. All we can be certain of is that the inspiration and originality that make music live will continue to bring awe, delight, fascination, and beauty to the people who listen to it. This book cover modernist and postmodern concert music worldwide from the years 1888 to 2018. This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music worldwide, from 1888 to 2018. This book is an excellent resource for students, researchers, and anyone wanting to know more about modern and contemporary classical music.
