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Claude Debussy's Paris was factionalized, politicized, and litigious. It was against this background of ferment and change--which characterized French society and music from the Franco-Prussian War to World War I--that Debussy re-thought music. This book captures the complexity of the composer's restless personal and artistic identity within the new picture emerging of the musical, social, and political world of fin-de-siècle Paris.

Debussy's setting did not simply mold his style. Rather, it challenged him to define a style and then to revamp it again and again as he situated himself simultaneously via the present and the past. These essays trace Debussy's perpetual reinvention, both social and creative, from his earliest to his last works. They explore tensions and contradictions in his best-known compositions and examine lesser-known pieces that reveal new aspects of Debussy's creative appropriation from poetry, painting, and non-Western music.

The contributors reveal the extent to which Debussy's personal and professional lives were intertwined and sometimes in conflict. Belonging to no one group or class, but crossing many, Debussy abjured the orthodox. A maverick who reviled all convention and searched for a music that authentically reflected experience, Debussy balked at entering any situation--salons, musical societies, or factions--that would categorize and thus distort him. Because of this, music lovers still argue over the degree to which Debussy's music is Impressionist, symbolist, or even French. Aptly, the volume's editor reads Debussy's last works as a dialogue with himself that reflects his inherently pluralistic, paradoxical, negotiated, and ever-changing identity.

William Austin's description of Debussy as ''one of the most original and adventurous musicians who ever lived'' is often repeated. This book illustrates how right Austin was and shows why Debussy's unclassifiable art continues to fascinate and perplex his historians even as it enthralls new listeners. The contributors are Leon Botstein, Christophe Charle, John Clevenger, Jane F. Fulcher, David Grayson, Brian Hart, Gail Hilson-Woldu, and Marie Rolf. ... Read more

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This analytical and pedagogical edition byMaurice Hinson will give the pianist a clearer understanding ofDebussy's creative processes as well as an educated introduction to one of the composer's masterpieces.Pedal and metronome markings are editoria ... Read more

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Arthur Hartmann (1881-1956), a celebrated violinist who performed over a thousand recitals throughout Europe and the United States, met Claude Debussy in 1908, after he had transcribed 'Il pleure dans mon coeur' for violin and piano. Their relationship developed into friendship, and in February 1914 Debussy accompanied Hartmann in a performance of three of Hartmann's transcriptions of Debussy's works. The two friends saw each other for the last time on the composer's birthday, 22 August 1914, shortly before Hartmann and his family fled Europe to escape the Great War. With the publication of Hartmann's memoir Claude Debussy As I Knew Him, along with the twenty-two known letters from Claude Debussy and the thirty-nine letters from Emma Debussy to Hartmann and his wife, the richness and importance of their relationship can be appreciated for the first time. The memoir covers the years 1908-1918. Debussy's letters to Hartmann span the years 1908-1916, and Emma (Mme) Debussy's letters span the years 1910-1932. Also included are the facsimile of Debussy's Minstrels manuscript transcription for violin and piano, three previously unpublished letters from Debussy to Pierre Louÿs, and and correspondence between Hartmann and Béla Bartók, Nina Grieg, Alexandre Guilmant, Charles Martin Loeffler, Marian MacDowell, Hans Richter, and Anton Webern, along with Hartmann's memoirs on Loeffler, Ysaÿe, Joachim and Grieg. ... Read more

Customer Reviews (1)

From the Horse's Mouth
Although interpretation is an elusive term that defies precise definition, Jane Bathori's book on the interpreting the melodies of Debussy must be considered a primary reference to these songs. Originally published in1953, this small manual has been translated by Linda Laurent, adistinguished Bathori scholar. Jane Bathori played a tremendous role in thedevelopment of 20th century song and was perhaps the most sought-afterinterpreter of vocal music of her day. She premiered more than 100 songs bymany composers, including Debussy. This book, one of the first of its kindwritten, is an invaluable reference by a fascinating personality in vocalmusic, and it is good to have it available in an English translation--forgood measure, Pendragon has also published the original French text withthe English. ... Read more

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This Book Is In French. ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Children's Corner. (For Piano). By Claude Debussy (1862-1918). Piano. For Piano Solo. Classical. Solo part. Standard notation. 28 pages. Published by Theodore Presser Company (PR.460000840).

With standard notation. classical.

I. Doctor Gradus ad Parnassum
II. Jimbo's Lullaby
III. Serenade of the Doll
IV. The snow is dancing
V. The little Shepherd
VI. Golliwogg's cake walk ... Read more

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Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

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Arthur Hartmann (1881-1956), a celebrated violinist who performed over a thousand recitals throughout Europe and the United States, met Claude Debussy in 1908, after he had transcribed 'Il pleure dans mon coeur' for violin and piano. Their relationship developed into friendship, and in February 1914 Debussy accompanied Hartmann in a performance of three of Hartmann's transcriptions of Debussy's works. The two friends saw each other for the last time on the composer's birthday, 22 August 1914, shortly before Hartmann and his family fled Europe to escape the Great War.With the publication of Hartmann's memoir Claude Debussy as I Knew Him, along with the twenty-two known letters from Claude Debussy and the thirty-nine letters from Emma Debussy to Hartmann and his wife, the richness and importance of their relationship can be appreciated for the first time. The memoir covers the years 1908-1918. Debussy's letters to Hartmann span the years 1908-1916, and Emma (Mme) Debussy's letters span the years 1910-1932. Also included are the facsimile of Debussy's Minstrels manuscript transcription for violin and piano, three previously unpublished letters from Debussy to Pierre Louÿs, and and correspondece between Hartmann and Béla Bartók, Nina Grieg, Alexandre Guilmant, Charles Martin Loeffler, Marian MacDowell, Hans Richter, and Anton Webern, along with Hartmann's memoirs on Loeffler, Ysaÿe, Joachim and Grieg.Samuel Hsu is a pianist and professor of music at Philadelphia Biblical University.He completed his Ph.D. in historical musicology at the University of California at Santa Barbara in 1972 with a dissertation on Debussy.Sidney Grolnic has been a librarian in the Music Department of the Free Library of Philadelphia for over twenty years andserves as curator of the library's Hartmann Collection.Mark A. Peters is a Ph.D.candidate in historical musicology at the University of Pittsburgh and is currently completing his dissertation on J. S. Bach's sacred cantatas to texts by Mariana vonZi ... Read more

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Written with energy and accessible prose, Cl assic FM''s Lifelines series presents biographies of the worl d''s most famous composers, chosen from a Classic FM survey. ' ... Read more