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Debussy c. 1900 by Atelier Nadar Achille Claude Debussy [n 1] was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries. Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the ...
Claude Debussy's Six sonatas for various instruments (French: Six sonates pour divers instruments) was a projected cycle of sonatas that was interrupted by the composer's death in 1918, after he had composed only half of the projected sonatas.
Emma Bardac (née Moyse; 10 July 1862 – 20 August 1934) was a French singer and the mutual love interest of both Gabriel Fauré and Claude Debussy.. Of Jewish descent, Emma married in the Synagogue of Arcachon, [1] [2] aged 17, Parisian banker Sigismond Bardac, by whom she had two children: Raoul, and Régina-Hélène (later Madame Gaston de Tinan (1892–1985)).
Despite his rancorous falling out with Debussy, Satie commemorated his long-time friend in 1920, two years after Debussy's death, in the anguished "Elégie", the first of the miniature song cycle Quatre petites mélodies. [68] Orledge rates the cycle as the finest, though least known, of the four sets of short songs of Satie's last decade. [8]
Claude Debussy c. 1910. This is a complete list of compositions by Claude Debussy initially categorized by genre, and sorted within each genre by "L²" number, according to the 2001 revised catalogue by musicologist François Lesure, [1] which is generally in chronological order of composition date. "L¹" numbers are also given from Lesure's ...
Less well known than her love affair with Rodin, the nature of her relationship with Claude Debussy has also been the object of much speculation. Stephen Barr reports that Debussy pursued her: it was unknown whether they ever became lovers. [48] They both admired Degas and Hokusai, and shared an interest in childhood and death themes. [49]
On the occasion of the centenary of Debussy's death, Bärenreiter published in 2018 a critical edition of some of his piano music, including Pour le piano. [8] The publisher remarked that the "improvisational and fugitive" parts of Debussy's compositions were "governed by a precisely calibrated formal design" that left "little room for chance". [8]
Debussy had finished the piece's sketches in 1908, but had resumed and completed the saxophone and piano score in 1911, eventually sending the score off to Hall. After Debussy's death in 1918, Jean Roger-Ducasse orchestrated the piano accompaniment for a full orchestra in 1919.