Print Had Monet not used the word "impression" in the title of his painting of a sunrise inthe art critic Louis Leroy would have probably not come up with it by himself for the review of the exhibition in which the painting appeared, published in Charivari in Paris in
See Article History Alternative Title: He developed a highly original system of harmony and musical structure that expressed in many respects the ideals to which the Impressionist and Symbolist painters and writers of his time aspired.
Early period Debussy showed a gift as a pianist by the age of nine. He was almost overwhelmed by situations of great extremes, both material and emotional. While living with his parents in a poverty-stricken suburb of Parishe unexpectedly came under the patronage of a Russian millionairess, Nadezhda Filaretovna von Meckwho engaged him to play duets with her and her children.
He traveled with her to her palatial residences throughout Europe during the long summer vacations at the Conservatory.
In Paris during this time he fell in love with a singer, Blanche Vasnier, the beautiful young wife of an architect; she inspired many of his early works. It is clear that he was torn by influences from many directions; these stormy years, however, contributed to the sensitivity of Impressionism in debussys voiles essay early style.
Middle period As a holder of the Grand Prix de Rome, Debussy was given a three-year stay at the Villa Medici in Rome, where, under what were supposed to be ideal conditions, he was to pursue his creative work.
Most composers who were granted this state scholarship, however, found life in this magnificent Renaissance palace irksome and longed to return to simpler and more familiar surroundings. Debussy himself eventually fled from the Villa Medici after two years and returned to Blanche Vasnier in Paris.
Several other women, some of doubtful reputation, were also associated with him in his early years. At this time Debussy lived a life of extreme indulgence.
Wagner fulfilled the sensuous ambitions not only of composers but also of the Symbolist poets and the Impressionist painters. In the course of his career, however, which covered only 25 years, Debussy was constantly breaking new ground. Explorations, he maintained, were the essence of music; they were his musical bread and wine.
Debussy and his librettist, Maurice Maeterlinckdeclared that they were haunted in this work by the terrifying nightmare tale of Edgar Allan Poe, The Fall of the House of Usher. In his seascape La Mer he was inspired by the ideas of the English painter J.
Turner and the French painter Claude Monet. In his work, as in his personal life, he was anxious to gather experience from every region that the imaginative mind could explore. Repelled by the gossip and scandal arising from this situation, he sought refuge for a time at Eastbourne, on the south coast of England.
This noble bass instrument takes on, in chameleon fashion, the character of a violin, a fluteand even a mandolin. He had in fact published in one of the anarchist journals poems that he had written and that he later set to music in the song cycle Proses lyriques .
He did not believe in the stereotyped harmonic procedures of the 19th century, and indeed it becomes clear from a study of midth-century music that the earlier harmonic methods were being followed in an arbitrary, academic manner.
He rejected the traditional dictum that string instruments should be predominantly lyrical.
The pizzicato scherzo from his String Quartet and the symbolic writing for the violins in La Mer, conveying the rising storm waves, show a new conception of string colour. Similarly, he saw that woodwinds need not be employed for fireworks displays; they provide, like the human voice, wide varieties of colour.
Debussy also used the brass in original colour transformations. In fact, in his music, the conventional orchestral construction, with its rigid woodwindbrass, and string departments, finds itself undermined or split up in the manner of the Impressionist painters.
Ultimately, each instrument becomes almost a soloist, as in a vast chamber-music ensemble. Finally, Debussy applied an exploratory approach to the pianothe evocative instrument par excellence since notes struck at the keyboard are, by the nature of the piano mechanism, neither eighth notes, quarter notes, nor half notes, but merely illusions of these notes.
It is certain that he would have taken part in the leading movements in composition of the years following World War I had his life not been so tragically cut short by cancer.
Wagner, said Debussy, was a wonderful sunset that had been mistaken for a dawn. As one looks back on the music of the last century this seems a remarkably shrewd observation.
It was true of Wagner, of course, but it is now seen to be more true of Debussy himself.Search the history of over billion web pages on the Internet.
debussy,pentatonicism,and the tonal tradition example 1. Debussy, Pagodes () 3 Toujours animé aussi que possible (a) mm. 3–4 (b) mm. 23–24 délicatement et presque den) essay on Debussy’s pentatonicism, “a distinct category.
Find this Pin and more on dance in art by KINOYME by Pierre-Auguste Renoir, Rejection of Impressionism. Find this Pin and more on dance in art by Loïe Fuller, watercolour According to Edgard Varèse, Fuller was also the inspiration for the prelude named Voiles (Veils) in Claude Debussys Préludes pour piano, Book Find.
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Voiles – Voiles is a composition by Claude Debussy for solo piano from It is the piece in a set of twelve préludes published in It is the piece in a set of twelve préludes published in The Impressionism and the work of debussy is one of the most popular assignments among students' documents.
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