Shop Categories
- Baum, L. Frank
- Management
- Indianapolis
- Highway, Tomson
- Gaskell, Jane
- Dubois, W. E. B.
- ActiveX
- Dixon, Debra
- Crew, Gary
- Size & Shape
- Carr, Caleb
- Rodchenko, Aleksandr
- Ibbotson, Eva
- Video Games
- Leonard, Paul
- General
- Power Systems
- Didion, Joan
- Antigua
- Welty, Eudora
- Michaels, William
- Bailey, Robin
- Baxter, Stephen
- Miller, Sasha
- Behaviorism
- Free Enterprise
- 18th Century
- Herbert, Mary H.
- Issues, Trends & Roles
- Scott, Richard
- Some of our other sites:
- Books
- Clothing, Shoes and Accessories
- Baby Clothes and Accessories
- Cosmetics, Beauty Products and Fragrances
- Cellphones, Call Plans and Accessories
- Video Games
- DVDs
- Electronics, Gadgets and Computers
- Health and Personal Care
- Home and Garden
- Home DIY
- Jewelry
- Magazines and Newspapers
- Music Downloads
- Musical Instruments
- Office Equipment and Supplies
- Software and Games
- Sporting Goods
- Toys and Games
- Watches
- UK Books
- UK Video Games
- UK Home and Garden
- UK Electronics, Gadgets and Computers
- UK Baby Clothes and Accessories
- UK Software and Games
- UK Sporting Goods
- UK Toys and Games
Books : Entertainment : Music : Musical Genres : Classical : Composers : Debussy, Claude
-
This is the first paperback edition of Roy Howat's stimulating and provocative study of Debussy's unorthodox use of musical form. Throught detailed analyses of the piano pieces Reflets dans l'eau and L'isle joyeuse and the symphonic poem La mer, Dr Howat shows how the pieces are built precisely and intricately around the two ratios of Golden Section and bisection so that the music is organised in various geometrical patterns which contribute substantially to its expansive and dramatic impact. The final chapter traces evidence of whether the proportional systems were designed consciously, and if so, where and why Debussy might have learnt such techniques. The evidence includes his involvement in the Symbolist movement and in esotericism.
-
Victor Lederer explores the sophistication, refinement and inspirations of Debussy's music, pointing out subtleties that otherwise could take years of careful listening to fully appreciate. Includes a full-length CD of the maestro's masterworks.
-
-
Part biography, part criticism, and part analysis, this fascinating study of one of music's greatest geniuses is above all an authoritative commentary on the entire corpus of Debussy's work for solo piano. Written with special insights for the performer. Includes 21 illustrations.
-
-
-
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.
-
Debussy and the Theatre means, in effect, 'Debussy and Pellias et Milisande', the only stage work Debussy chose and completed himself without a definite production in view. The opera both established Debussy's mature style and reputation in the forefront of contemporary composers and changed the course of operatic history. But Pelléas was also largely responsible for Debussy's `compulsive inachievement' in the theatre. Before it he delayed completing other works so that Albert Carré's production at the Opéra-Comique would be his theatre debut; and then its traumatic dress-rehearsal in April 19o2 left him reluctant to undergo another similar experience. This, coupled with his search for lyrical librettos or scenarios that could inspire the rhythm and colour that he regarded as vital ingredients in theatre music, resulted in a career littered with abandoned projects. The story of this most fascinating of love-hate relationships with the stage is told, as far as possible, in the composer's own words or from contemporary documents.
-
-
La Mer stands at the center of Debussy's achievement. Described by the composer as "a seascape without figures," it is arguably the greatest and most original French symphony. In this study, La Mer is considered in the context of Debussy's personal and musical development. Detailed discussion of performance styles draw on current recordings, and two analytical chapters trace the growth of ideas through the work. Studies of rhythm, motif and tonality show how Debussy generates "narratives" across the three movements.
-
-
-
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.
-
Text extracted from opening pages of book: CLAtJDE DEBUSSY HIS LIFE AND WORKS Translated from the French by MAIRE and GRACE O BRIEN OXFORD UNIVERSITY PRESS London : Humphrey Milford 1933 L ; ; PREFACE - * * & amp; lt; w & quot; * IN this book on Claude & quot; Debussy I have avoided all biographical details the publication of which, fefight be deemed premature and indiscreet. The secrets of his private life belong to those who shared it and who bear his name. For the purposes of this book I have made use only of such documents as were originally intended for publication or which have by chance become public property. To my mind, the really interesting points in the life of a musician are his works, his activities, and his influence on his contemporaries. The book which I published in 1928 under the title of The Theories of Claude Debussy, musicien franfais, supplements the present work, revealing as it does the composer s ideas on music given to the public between the years 1901 and 1916. I have made frequent use of Debussy s published correspon dence : his letters to Vasnier and Ernest Chausson ( Revue Musicale, December 1925 and May 1926) and to the publisher, Durand ( Paris, Durand, 1927). I have also drawn on the reminiscences published by the Revue Musicale, in May 1926 ( articles by: Raymond Bonheur, Paul Dukas, Robert Godet, Andre Messager, Gabriel Pierne, Henri de Regnier, Marguerite Vasnier, Paul Vidal). I have likewise utilized the recollections to which Maurice Emmanuel refers in his study on Telleas et Melisande ( Paris, Mellotte, 1926). CONTENTS I. CHILDHOOD. THE CONSERVATOIRE ( 1862-83) . i II. THE PRIX DE ROME ( 1883-4) 22 III. THE VILLA MEDICI ( 1885-7); THE ENVOIS DE ROME ( 1885-90) 32 IV. RETURN TO PARIS ( 1887). INFLUENCES . . 49 V. THE FIRST COMPOSITIONS ( 1888-93) . . 66 VI. BEFORE PELLfiAS : THE QUARTET AND THE PROSES LYRIQUES ( 1892-9) . . .80 VII. & amp; lt; L APRfiS-MIDI D UN FAUNE ; THE NOCTURNES ; CRITIQUES ( 1894-1901) . . . .101 VIII. PELLfiAS ET MfiLISANDE ( 1892-1902) DEBUS SYISM 121 IX. CHAMBER MUSIC. C LA MER ( 1902-7) . . 152 X. VARIOUS COMPOSITIONS. LE CAS DEBUSSY ( 1907-10) ...... 181 XL IMAGES FOR ORCHESTRA; PRELUDES AND SONGS ( 1910-13) . . . . - 195 XII. DRAMATIC MUSIC, VARIOUS PLANS. LE MAR TYRE DE SAINT-SfiBASTIEN ( 1911) . . 217 XIII. JEUX. LA BOlTE A JOUJOUX ( 1913) . . 235 XIV. THE WAR. LAST YEARS ( 1914-18) . . .251 APPENDIX A ....... 274 B 274 C . . . - . . - 275 LIST OF ILLUSTRATIONS Achille-Claude Debussy ( in 1867) . . . facing p. 2 Achille-Claude Debussy, while at the Conservatoire ( about 1874) ........ 10 New Year s Greetings to Madame Vasnier ( on the music of Mandoline) . . . . ,, 18 Music Facsimile ( from Le Gladiateur) . between pp. 24 and 25 Villa Medici ( 1885) ..... facing p. 32 Debussy at the house of Ernest Chausson, 1893 . . ,, 62 A few pages from the note-book of Maurice Emmanuel .... between pp. 84 and 85 Claude Debussy ( about 1895) .... facing p. 90 Claude Debussy ( about 1895) . . . - ,, 101 Letter to Pierre Louys . . . . ,, no Debussy at the house of Pierre Louys ( about 1895) . 112 Debussy at the piano ( about 1898) . . ,, 116 Claude Debussy ( about 1900) . . . ,, 121 Debussy and his first wife, Rosalie Texier ( about 1902) . ,, 124 At the time of Telleas et Melisande 138 Debussy, photographed by Pierre Louys ( about 1900) * ,, 15 Debussy, by Jacques-fimile Blanche ( 1903) - * 54 Letter to Jacques Durand ( August 1903) . . - ,, * 57 Debussy and his first wife, Rosalie Texier, at Bichain ( about 1902) ..... 158 Debussy at Pourville ( September 1904) . . - ,, 168 Debussy outside his home ( about 1910). . 212 Letter to Andr6 Halle& quot; ( 27 August 1913) - 240 One of the 363 themes in Roman de Tristan* Debussy s note for the Fourth of a projected Series of Six ^ Sonatas ..... Opening of the Finale of the Violin Sonata CHAPTER I CHILDHOOD. THE CONSERVATOIRE ( 1862-83) IN the heart of the tle-de-France, at Saint-Germain-en-Laye, tjte, birthplace of Louis XIV, was
-
Often considered the father of twentieth-century music, Debussy was a visionary whose influence is still felt. This Companion offers new insights into Debussy's character, his environment and his music, including challenging views of the roles of nature and eroticism in his life and music. While works in all genres are discussed, they are considered through the themes of sonority, rhythm, tonality and form, with closing chapters considering the performance and reception of his music in the first years of the new century.
-
English National Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. In this Guide to Pelleas, Maeterlinck's play is reprinted in full, so that the opera-lover can read the scenes that Debussy did not set to music. Hugh Macdonald's much praised English translation is published here for the first time, with an essay uncovering the musical roots of Pelleas and illustrating its importance to music of the twentieth century. Alain Raitt, author of several studies of Symbolist writers, evaluates Maeterlinck's status as a dramatist, and Roger Nichols analyses the score. Proust's short pastiche of the opera and Arthur Symons' review of the first English performances challenge us to come to terms with this eternally intriguing masterpiece.
-
-
The early music of Claude Debussy was influenced by the work of Wagner, for whom he had great admiration. However, soon Debussy's music became more experimental and individualistic, as is clear in his first mature work Prelude to the Afternoon of a Faun. Debussy quickly moved away from traditional techniques and produced the pictures in sound that led his work to be described as "musical Impressionism." This new biography--the first in English in 30 years--offers new insights into the life of this enigmatic composer, revealing a figure more seminal and revolutionary than previously thought.
-
Abundant illustrations and simple extracts from his popular works help chronicle the life of the great composer Tchaikovsky, who combined the traditions of his native Russia with the Western symphony.
-