The great French Impressionist
composer, Claude Debussy was one of the most original and influential
musical geniuses that ever lived. The impact of his revolutionary ideas on 20th
century piano music was comparable to Chopin's revolutionary contribution to
19th century piano music. Born near Paris in 1862
into a non‑musical, middle‑class family, his talent nevertheless was apparent,
and his parents sent him to study at the Paris Conservatory when he was ten
years old. His teachers at the conservatory, however, did not appreciate his
audacious chord progressions and unorthodox approach to music composition.
Debussy introduced totally new harmonic concepts through the use of dissonance,
altered chords, and foreign harmonies. His melodies often were constructed on
unusual scales--modal, pentatonic, or whole tone scales, for example--to
achieve certain moods.
Though Debussy did not like to be
referred to as an Impressionist composer, his work is consistent with the
movements that were ongoing in other arts at the time. French Impressionist
painters, such as Monet and Renoir, were using dots and small brush strokes of
pure color designed to be blended together by the viewer's eyes to evoke a
visual impression rather than an exact replica of the subject. Color and
shading, for example, became more important than form and substance. A similar movement, known as Symbolism, was
ongoing in French poetry. Symbolist poets placed more importance on how a word
sounded than on its exact meaning and refused to be limited by the rules of
syntax or sentence structure. In a similar vein, the essence of Debussy's work
is suggestion, rather than outright statement, and he frequently uses
fragmentary motives and flashes of tone color to evoke impressions. Like the
Impressionists and Symbolists, he refused to let rules prevent him from fully
expressing himself.
Debussy published two books of Images that are excellent examples
of his Impressionistic style. Book I consists of three contrasting pieces that
Debussy brilliantly imbued with an underlying sense of unity. The first piece, Reflets dans l'eau (Reflections in the Water), reveals
Debussy's great love of nature and his fascination with water and light. The
second piece, Hommage à Rameau (Homage to Rameau), is a lovely sarabande written as a tribute to the great 18th century French
composer, Jean‑Philippe Rameau with whom Debussy felt an affinity. The final
piece, Mouvement, consists of a driving, perpetual triplet
rhythm that evokes images of the modern, industrial age. Christopher Falzone
Classical Music | Piano Music
Claude Debussy
Images, Book I Play
Recorded on 07/14/2004, uploaded on 05/01/2009
Musician's or Publisher's Notes
Images I Claude Debussy
Reflets dans l'eau
Hommage à Rameau
Mouvement
The great French Impressionist composer, Claude Debussy was one of the most original and influential musical geniuses that ever lived. The impact of his revolutionary ideas on 20th century piano music was comparable to Chopin's revolutionary contribution to 19th century piano music. Born near Paris in 1862 into a non‑musical, middle‑class family, his talent nevertheless was apparent, and his parents sent him to study at the Paris Conservatory when he was ten years old. His teachers at the conservatory, however, did not appreciate his audacious chord progressions and unorthodox approach to music composition. Debussy introduced totally new harmonic concepts through the use of dissonance, altered chords, and foreign harmonies. His melodies often were constructed on unusual scales--modal, pentatonic, or whole tone scales, for example--to achieve certain moods.
Though Debussy did not like to be referred to as an Impressionist composer, his work is consistent with the movements that were ongoing in other arts at the time. French Impressionist painters, such as Monet and Renoir, were using dots and small brush strokes of pure color designed to be blended together by the viewer's eyes to evoke a visual impression rather than an exact replica of the subject. Color and shading, for example, became more important than form and substance. A similar movement, known as Symbolism, was ongoing in French poetry. Symbolist poets placed more importance on how a word sounded than on its exact meaning and refused to be limited by the rules of syntax or sentence structure. In a similar vein, the essence of Debussy's work is suggestion, rather than outright statement, and he frequently uses fragmentary motives and flashes of tone color to evoke impressions. Like the Impressionists and Symbolists, he refused to let rules prevent him from fully expressing himself.
Debussy published two books of Images that are excellent examples of his Impressionistic style. Book I consists of three contrasting pieces that Debussy brilliantly imbued with an underlying sense of unity. The first piece, Reflets dans l'eau (Reflections in the Water), reveals Debussy's great love of nature and his fascination with water and light. The second piece, Hommage à Rameau (Homage to Rameau), is a lovely sarabande written as a tribute to the great 18th century French composer, Jean‑Philippe Rameau with whom Debussy felt an affinity. The final piece, Mouvement, consists of a driving, perpetual triplet rhythm that evokes images of the modern, industrial age. Christopher Falzone
More music by Claude Debussy
Hommage à Rameau, from Images, Book 1
Poissons d’or, from Images, Book II
La Puerta del Vino, from Préludes Book II
Soiree dans Grenade, from Estampes
Rapsodie (arr. Rousseau)
Reflets dans l’eau, from Images, Book 1
Beau Soir
Ondine, from Préludes Book II
Bruyères, from Préludes Book 2, No. 5
Pagodes, from Estampes
Performances by same musician(s)
Fantasy, Op. 49
Songs without Words Op. 19, No. 1 (Sweet Remembrance)
Songs Without Words Op. 30, No. 4 (The Wanderer)
Songs Without Words Op. 30, No. 1 (Contemplation)
Classical Music for the Internet Era™
Courtesy of International Music Foundation.