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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 ...
Claude Debussy and Maurice Ravel are two leading figures in Impressionism, though Debussy rejected this label (in a 1908 letter he wrote "imbeciles call [what I am trying to write in Images] 'impressionism', a term employed with the utmost inaccuracy, especially by art critics who use it as a label to stick on Turner, the finest creator of mystery in the whole of art!") and Ravel displayed ...
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 ...
Nocturnes, L 98 (also known as Trois Nocturnes or Three Nocturnes) is an Impressionist orchestral composition in three movements by the French composer Claude Debussy, who wrote it between 1892 and 1899.
La mer was the second of Debussy's three orchestral works in three sections, the other being Nocturnes (1892–1899) and Images pour orchestre (1905–1912). The first, the Nocturnes, premiered in Paris in 1901 and though it had not made any great impact on the public, it was well-reviewed by musicians including Paul Dukas, Alfred Bruneau and Pierre de Bréville.
La cathédrale engloutie" (The Sunken Cathedral) is a musical composition by the French composer Claude Debussy for solo piano, published in 1910. It is the tenth piece in Debussy's first book of préludes. It is characteristic of Debussy in its form, harmony, and content.
Impressionism started in France as a reaction, led by Claude Debussy, against the emotional exuberance and epic themes of German Romanticism exemplified by Wagner. In Debussy's view, art was a sensuous experience, rather than an intellectual or ethical one.
Writing "images", Debussy was purposely intending not to create linear musical progression, but a sonic representation of water. Reflets dans l'eau is also an example of the new tone colors Debussy discovered for the piano in this part of his life, and although he later refined this style, it is representative of a major breakthrough in piano ...