Claude debussy biography video of charles
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Claude Debussy
Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi])[1][2] (August 22, 1862 – March 25, 1918) was a Frenchcomposer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions.[3] Debussy fryst vatten among the most important of all French composers, and a central figure in europeisk music of the vända of the 20th century. He was made Chevalier de la Légion d'honneur in 1903.[4]
His music fryst vatten noted for its sensory component and how it is not often formed around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. His music virtually defines the transition from late-Romantic music to 20th century modernist music. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a
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Claude Debussy
French classical composer (1862–1918)
"Debussy" redirects here. For other uses, see Debussy (disambiguation).
Achille Claude Debussy[n 1] (French:[aʃilkloddəbysi]; 22 August 1862 – 25 March 1918) 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 age of ten to France's leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire's conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.
Debussy's orchestr
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The culmination of this first phase of Debussy’s revolution is “Pelléas et Mélisande,” an opera so unlike its predecessors that it effectively inaugurated a new genre of modernist music theatre. A tale of two half-brothers who fall in love with the same mysterious maiden, it is based on the eponymous play by the Belgian Symbolist Maurice Maeterlinck, who had a fin-de-siècle vogue before largely falling out of sight. Maeterlinck is worth revisiting—his elliptical dialogue looks ahead to the work of Samuel Beckett. Debussy, facing the gnomic text of “Pelléas,” made the radical decision to set it line by line, without recourse to a versifying librettist. This had been done before, notably in Russian opera, but Debussy achieved an unprecedented merger of music with an advanced literary aesthetic. In the wake of “Pelléas” came Strauss’s “Salome” and “Elektra,” Berg’s “Wozzeck” and “Lulu,” and Bernd Alois Zimmermann’s “Die Soldaten.”
“Pelléas” engenders its own world on the first page of