See also:

• CLAUDE, JEAN (1619-1687)

CLAUDE ACHILLE See also:

• CLAUDE ACHILLE DEBUSSY (1862– )

DEBUSSY (1862– )  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at St Germain-en-Laye on the 22nd of See also:

• AUGUST (originally Sextilis)

August 1862, and educated at the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire under See also:

• MARMONTEL, JEAN FRANCOIS (1723-1799)

Marmontel, Lavignac, See also:

• MASSENET, JULES SMILE FREDERIC (1842– )

Massenet and See also:

• GUIRAUD, ERNEST (1837—1892)

Guiraud . There between 1874 and 1884 he gained many prizes for solfege, See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte playing, accompanying, See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint and See also:

• FUGUE (Lat. fuga, flight)

fugue, and, in the last-named See also:

• YEAR

year, the coveted See also:

• GRAND

Grand Prix de See also:

• ROME
• ROME (Roma)

Rome by means of his See also:

• CANTATA (Italian for a song or story set to music)

cantata L'Enfant prodigue . In this See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition already were thought to be noticeable the germs of unusual and " new " See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, though in the See also:

• LIGHT

light of later developments it is not very easy to discern them, for then See also:

• DEBUSSY, CLAUDE ACHILLE (1862– )

Debussy had not come under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence which ultimately turned his mind to the See also:

• SYSTEM

system he afterwards used, not only with See also:

• PECULIAR

peculiar distinction but also with particular individual and See also:

• COMPLETE

complete success . Nevertheless, the mind had clearly been prepared by nature for the reception of this influence when it should arise; for, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to fulfil that See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition of the Prix de Rome which entails the submitting periodically of compositions to the See also:

• JUDGES, THE BOOK OF

judges, Debussy sent to them his symphonic See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite Printemps, to which the judges took exception on the ground of its formlessness . Following in the See also:

• WAKE (A.S. wacan, to " wake " or " watch ")
• WAKE, THOMAS (1297-1349)
• WAKE, WILLIAM (1657-1737)

wake of Printemps came La damoiselle See also:

• GLUE (from the O. Fr. glu, bird-lime, from the Late Lat. gluten, glus, glue)

glue for See also:

• SOLO, OR SOLO WHIST

solo, See also:

• FEMALE

female See also:

• VOICE (Fr. voix, from Lat. vox)

voice and See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra—a setting of a French version of See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti's "The Blessed Damosel "—which in the eyes of the judges was even more unorthodox than its predecessor, though, be it said, See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault was found as much with the libretto as with the See also:

• MUSIC

music . Both See also:

• WORKS

works were denied the customary public performance . The . Rome See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period over, Debussy returned to Paris, whenceshortly he went to See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, where he came directly under the influence referred to above . In Russia he absorbed the native music, especially that of See also:

• MOUSSORGSKY, MODESTE PETROVICH (1835-1881)

Moussorgsky, who, recently dead, had See also:

• LEFT

left behind him the reputation of a " musical nihilist," and on his return to Paris Debussy devoted himself to composition, the stream of his muse being even in 1908 as fluent as twenty years before . To him public recognition was slow in coming, but in 1893 the Societe Nationale de Musique performed his Damoiselle due, in 1894 the See also:

• YSAYE, EUGENE (1858— )

Ysaye Quartet introduced the See also:

• STRING

string .quartet, while in the same year the Prelude d l'apresmidi d'un Faune was heard, and brought Debussy's name into some prominence . As See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time passed the prominence See also:

• GREW, NEHEMIAH (1641-1712)

grew, until the See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax of Debussy's creative career was reached by the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production at the See also:

• OPERA (Italian for " work ")

Opera Comique on the 3oth of See also:

• APRIL

April 1902 of his masterpiece Pelleas et Melisande . Herein See also:

• LAY

lay the whole strength of Debussy's system, the perfection of his See also:

• APPEAL

appeal to the mind and See also:

• IMAGINATION

imagination as well as to the emotions and senses .

Since its production the See also:

• WORLD

world has been enriched by La Mer, and by the Ariettes oubliees, but the lyric See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama remains on its own lofty See also:

• PEDESTAL (Fr. piedestal, Ital. piedestallo, foot of a stall)

pedestal, a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument of elusive and subtle beauty, of emphatic originality and of See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . In an Apologia Debussy has declared that in composing Pelleas he " wanted to dispense with parasitic musical phrases . See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

Melody is, if I may say so, almost See also:

• ANTI, or CAMPA

anti-lyric, and powerless to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express the See also:

• CONSTANT, BENJAMIN (1845-1902)

constant See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of emotion or See also:

• LIFE

life . Melody is suitable only for the chanson, which confirms a fixed sentiment . I have never been willing that my music should hinder, through technical exigencies, the change of sentiment and See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt by my characters . It is effaced as soon as it is necessary that these should have perfect See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty in their gestures or in their cries, in their joy, or in their sorrow." The See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of Debussy's works is a lengthy one . Several of them have been referred to already . Among the others, of which the complete list is too See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long to See also:

• PRINT

print here, are the dances for See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp or pianoforte; Images; incidental music to See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• LEAR, EDWARD (1812-1888)

Lear; the Petite Suite; Trois Nocturnes; innumerable songs, as Proses Lyriques (See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text by Debussy); two See also:

• SERIES (a Latin word from serere, to join)

series of See also:

• VERLAINE, PAUL (1844–1896)

Verlaine's Fetes gal See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

ant es; Cinq Poemes de See also:

• BAUDELAIRE, CHARLES PIERRE (1821-1867)

Baudelaire; many pianoforte pieces . In 1891 Debussy was appointed critic of the Revue See also:

• BLANCHE, JACQUES EMILE (1861– )

Blanche . In his first See also:

• NOTICE

notice he expressed his faith thus: " I shall endeavour to trace in a musical See also:

• WORK

work the many different emotions which have helped to give it See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, also to demonstrate its inner life . This, surely, will be accounted of greater See also:

• INTEREST

interest than the See also:

• GAME

game which consists in dissecting it as if it were a curious timepiece." As to the theories, so much debated, of this remarkable musician—probably in the whole range of musical See also:

• HISTORY

history there has not appeared a more difficult theorist to " See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place." Unquestionably Debussy has introduced a new system of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour into music, which has begun already to exert widespread influence . Roughly, Debussy's system may be summarized thus: His See also:

• SCALE
• SCALE (1) A

scale basis is of six whole tones (enharmonic), as (I) See also:

• MIDDLE

middle C ,D,E,Gb,A1 ,B1 , which are of excellent See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound when super-imposed in the See also:

• FORM (Lat. forma)

form of two augmented unrelated triads .

Bb A# GIs or enharmonically F# D {Ats [G# E C E C used frequently incomplete (i.e. by the omission of one See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note) by Debussy . Now, upon the basis of an augmented triad a tune may be played above it provided that it be based upon the six-See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone scale, and a fugue may be written, the re-entry of the subject of which ma be made upon any note of the scale, and the See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony will be E complete . To See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate this scale with the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary diatonic C scale let a See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major 9th be taken, e.g.: one may conventionally A flatten or sharpen the fifth of this (A becoming # See also:

• ORB

orb as F# desired) : if both the flattened and sharpened fifths be taken D in the one chord this chord is arrived at: E* C Bb AI ? (A# enharmonically altered to Bb) F$$ D which is composed of the notes of the aforesaid scale (1), and Debussy thereby proves his See also:

• CASE
• CASE, JOHN (d. 1600)

case to belong to the " primitifs." It will be noticed that chords of the 9th in sequence and in all forms occur in Debussy's music as well as the augmented triad harmonics, where the melodic See also:

• LINE

line is based on the tonal scale . This, in all likelihood, is the outcome of Debussy's instinctive feeling for the association of his so-called See also:

• DISCOVERY

discovery with the ordinary scale . The " See also:

• SECRET (Lat. secretum, hidden, concealed)

secret," it may be added, comes not from Annamese music as has been frequently stated, but probably from Russia, where certainly it was used before Debussy's rise . (R . H .