"intensely at the Paris World exhibition of 1889”. Both influences inform Debussy’s first major orchestral work, ""Prelude a l’après-midi d’un faune"" (1894). Wagner’s influence can be heard in the strategic use of silence, the sensitively differentiated orchestration and, above all in the striking half-diminished seventh chord spread between oboes and clarinets, reinforced by a glissando on the harp. Austin (1966, p. 16) continues “Only a composer thoroughly familiar with the Tristan chord could have conceived the beginning of the ""Faune"".” Later in the ""Faune"", Debussy builds a complex texture, where, as Austin says, “Polyphony and orchestration overlap...He adds to all"
"Turina, Ottorino Respighi, Charles Tomlinson Griffes, and Federico Mompou. The Finnish composer Jean Sibelius is also associated with impressionism, and his ""The Swan of Tuonela"" (1893) predates Debussy's ""Prélude à l'après-midi d'un faune"" (regarded as a seminal work of musical impressionism) by a year. The American composer Howard Hanson also borrowed from both Sibelius and impressionism generally in works such as his Second Symphony. Impressionism in music Impressionism in music was a movement among various composers in Western classical music (mainly during the late 19th and early 20th centuries) whose music focuses on suggestion and atmosphere, ""conveying the moods and"
"Gabriel Fauré Gabriel Urbain Fauré (; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his ""Pavane"", Requiem, ""Sicilienne"", nocturnes for piano and the songs ""Après un rêve"" and ""Clair de lune"". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a"
"the Impressionist composers who created new works for piano, orchestra, opera, chamber music and other musical forms, stand in particular, Claude Debussy (""Suite bergamasque"", and its well-known third movement, ""Clair de lune"", ""La Mer"", ""Pelléas et Mélisande""), Erik Satie (""Gymnopédies"", ""Je te veux"", ""Gnossiennes"", ""Parade"") and Maurice Ravel (""Miroirs"", ""Boléro"", ""La valse"", ""L'heure espagnole""). Several foreign-born composers, such as Frédéric Chopin (Poland), Franz Liszt (Hungary), Jacques Offenbach (Germany), Niccolò Paganini (Italy), and Igor Stravinsky (Russia), established themselves or made significant contributions both with their works and their influence in Paris. Bal-musette is a style of French music and dance that"
"Jacques Ibert Jacques François Antoine Marie Ibert (15 August 18905 February 1962) was a French composer of classical music. Having studied music from an early age, he studied at the Paris Conservatoire and won its top prize, the Prix de Rome at his first attempt, despite studies interrupted by his service in World War I. Ibert pursued a successful composing career, writing (sometimes in collaboration with other composers) seven operas, five ballets, incidental music for plays and films, works for piano solo, choral works, and chamber music. He is probably best remembered for his orchestral works including ""Divertissement"" (1930) and"
"la mer"" (The Magician of the Sea), as well as a version of the chante-fable ""Aucassin et Nicolette"". ""For the Dead"" and the seven ""Pièces enfantines"", both originally written in 1911, were orchestrated some years later. Two of the composer's children died young, and ""For the Dead"" is dedicated to their memory. In addition to his symphonies, Le Flem wrote evocative orchestral music such as ""En mer"" (At Sea) and ""La Voix du large"" (The Voice of the Open Sea). Le Flem also composed the music for Jean Tedesco's short film ""The Great Gardener of France"" in 1942. Le Flem"
"(1862-1918) was born at Saint-Germain-en-Laye, near Paris, and entered the Conservatory in 1872. He became part of the Parisian literary circle of the symbolist poet Stéphane Mallarmé, and an admirer of Richard Wagner, then went on to experiment with impressionism in music, atonal music and chromaticism. His most famous works included ""Clair de Lune"" (1890), ""La Mer"" (1905) and the opera ""Pelléas et Mélisande"" (1903-1905). He lived at 23 ""square de l'Avenue-Foch"" in the 16th arrondissement from 1905 until his death in 1918. Other influential composers in Paris during the period included Jules Massenet (1842-1912), author of the operas ""Manon"""
"and Arturo Toscanini, and in the ""Petite Suite"", Henri Büsser, who had prepared the orchestration for Debussy. Many of these early recordings have been reissued on CD. In more recent times Debussy's output has been extensively recorded. In 2018, to mark the centenary of the composer's death, Warner Classics, with contributions from other companies, issued a 33-CD set that is claimed to include all the music Debussy wrote. Claude Debussy Achille-Claude Debussy (; 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"
"Claude Debussy Achille-Claude Debussy (; 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"
"and Yoshikazu Mera. His opera ""Kurofune (The Black Ships)"" is regarded as one of the most famous Japanese operas. As a conductor, Yamada made an effort to introduce many orchestral works to Japan. He was the first performer in Japan of Debussy's ""Prélude à l'après-midi d'un faune"", Dvořák's Symphony No. 9, Gershwin's ""An American in Paris"", Mosolov's ""Iron Foundry"", Sibelius' ""Finlandia"", Shostakovich's Symphony No. 1, Johann Strauss II's ""An der schönen blauen Donau"", and Wagner's ""Siegfried Idyll"". Jacques Ibert's ""Ouverture de Fete"" was dedicated to the Japanese emperor and government for the 2,600th National Foundation Day in 1940 and premiered"
"painters' use of brush-strokes and dots is paralleled in the music of Debussy. Although Debussy said that anyone using the term (whether about painting or music) was an imbecile, some Debussy scholars have taken a less absolutist line. Lockspeiser calls ""La mer"" ""the greatest example of an orchestral Impressionist work"", and more recently in ""The Cambridge Companion to Debussy"" Nigel Simeone comments, ""It does not seem unduly far-fetched to see a parallel in Monet's seascapes"". In this context may be placed Debussy's pantheistic eulogy to Nature, in a 1911 interview with Henry Malherbe: In contrast to the ""impressionistic"" characterisation of"
"La Mer (song) ""La Mer"" (English: ""The Sea"") is a song written by French composer, lyricist, singer and showman Charles Trenet. The song was first recorded by the French singer Roland Gerbeau in 1945. It was not until 1946 that Trenet recorded his own version. When it was released in 1946, it became an unexpected hit, and has remained a chanson classic and jazz standard ever since. Trenet said that he had written an initial version of the song's lyrics as a poem at the age of 16, many years before he came up with a tune for it. The"
"native city of Brussels. Gilson was somewhat conservative in his musical outlook. Some of his work is indebted to Wagnerian harmony, and his books on harmony and instrumentation also bear this out. ""La Mer"", the score which gave him his greatest success, is a set of four impressionistic movements (""symphonic sketches"") in sonata form which were originally intended to illustrate verses by a French-speaking poet, Eddy Levis. Generally considered to form a programmatic symphony depicting the sea, Gilson's score (also known as ""De Zee"") predated Claude Debussy's work of the same name by a decade. Despite being finely crafted, his"
"his Symphony No. 3). Later came precursors of modern classical music. Érik Satie was a key member of the early-20th-century Parisian avant-garde, best known for his ""Gymnopédies"". Francis Poulenc's best known works are his piano suite ""Trois mouvements perpétuels"" (1919), the ballet ""Les biches"" (1923), the ""Concert champêtre"" (1928) for harpsichord and orchestra, the opera ""Dialogues des Carmélites"" (1957), and the ""Gloria"" (1959) for soprano, choir and orchestra. Maurice Ravel and Claude Debussy are the most prominent figures associated with Impressionist music. Debussy was among the most influential composers of the late 19th and early 20th centuries, and his use"
"L'après-midi d'un faune (poem) L'après-midi d'un faune (or ""The Afternoon of a Faun"") is a poem by the French author Stéphane Mallarmé. It describes the sensual experiences of a faun who has just woken up from his afternoon sleep and discusses his encounters with several nymphs during the morning in a dreamlike monologue. It is Mallarmé's best-known work and a hallmark in the history of symbolism in French literature. Paul Valéry considered it to be the greatest poem in French literature. Initial versions of the poem, originally titled ""Le Faune, intermède héroique"" were written between 1865 (the first mention of"
"of ""La mer"". ""Estampes"" for piano (1903) gives impressions of exotic locations, with further echoes of the gamelan in its pentatonic structures. Debussy believed that since Beethoven, the traditional symphonic form had become formulaic, repetitive and obsolete. The three-part, cyclic symphony by César Franck (1888) was more to his liking, and its influence can be found in ""La mer"" (1905); this uses a quasi-symphonic form, its three sections making up a giant sonata-form movement with, as Orledge observes, a cyclic theme, in the manner of Franck. The central ""Jeux de vagues"" section has the function of a symphonic development section"
"other techniques involved in this baroque form. Johann Caspar Ferdinand Fischer was one of the first German composers to bring the late 17th-century French style to German harpsichord music, replacing the standard French ouverture with an unmeasured prelude. Fischer's ""Ariadne musica"" is a cycle of keyboard music which consists of pairs of preludes and fugues; the preludes are quite varied and do not conform to any particular model. ""Ariadne musica"" served as a precursor to Johann Sebastian Bach's ""The Well-Tempered Clavier"", two books of 24 ""prelude and fugue"" pairs each. Bach's preludes were also varied, some akin to Baroque dances,"
"2 August. After a brief visit to London, the couple returned to Paris in September, buying a house in a courtyard development off the Avenue du Bois de Boulogne (now Avenue Foch), Debussy's home for the rest of his life. In October 1905 ""La mer"", Debussy's most substantial orchestral work, was premiered in Paris by the Orchestre Lamoureux under the direction of Camille Chevillard; the reception was mixed. Some praised the work, but Pierre Lalo, critic of ""Le Temps"", hitherto an admirer of Debussy, wrote, ""I do not hear, I do not see, I do not smell the sea"". In"
"Rodolphe Mathieu Joseph Rodolphe Mathieu (10 July 1890 – 29 June 1962) was a Canadian composer, pianist, writer on music, and music educator. ""The Canadian Encyclopedia"" states, ""Considered too avant-garde for his time because of Debussy's influence on his music, Mathieu gained recognition too late to inspire the generation that followed."" The pianist Léo-Pol Morin was one of the few important exponents of his work, notably including Mathieu's ""Chevauchée"" and ""Trois Préludes"" in his concert repertoire. Mathieu's song ""Un peu d'ombre"" (1913) was included in a number of recitals given by Marguerite Bériza and Sarah Fischer in Europe. Born in"
"towards Andersen's stories, and it has been theorized that the author's character Zephyr – which is ""a west wind"" in Danish – would have ""appealed"" to the composer when he was writing the prelude. Furthermore, the technical aspects of this piece were influenced by the works of Franz Liszt. This is evident in Debussy's utilization of ""sweeping arpeggios"" at the beginning of the piece, which lead towards loud booming chords and extreme dissonance. The prelude is one of three works from Book I – along with ""La sérénade interrompue"" and ""La cathédrale engloutie"" – whose date of completion is unknown."
"charm of life<br> While there is youth and the evening is fair,<br> For we shall go away; like water that is flowing: Into the sea, we to the tomb. Claude Debussy is well known for his impressionistic approach to music, although he hated the term ""impressionism"" and preferred being associated with the creation of new sounds and colors through the exploration of fluid rhythms, and whole tone and pentatonic scales. Throughout his life, Debussy composed a variety of works including music for piano, orchestra, and chamber ensembles. In addition, Debussy wrote many French art songs. Beau Soir was one of"
"in a revolutionary work created in the early twentieth century: Vaslav Nijinsky's ""L'Après-midi d'un Faune"", set to Claude Debussy's symphonic poem in 1912. Debussy's ""Prélude à l'Après-midi d'un Faune"" (1894), inspired by an 1876 poem of Stéphane Mallarmé, was considered by some music historians as ""the beginning of modern music."" Nijinsky's choreography was certainly new and modern, very different from previously seen forms of theatrical dance. George Zoritch was ideally suited to reinterpret Nijinsky's vision of a lusty young woodland creature lounging in the heat of a summer afternoon. With a figure that had been likened to ""a Greek youth"
"Claude Monet Oscar-Claude Monet (; ; 14 November 1840 – 5 December 1926) was a French painter, a founder of French Impressionist painting and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein air landscape painting. The term ""Impressionism"" is derived from the title of his painting ""Impression, soleil levant"" (""Impression, Sunrise""), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris. Monet's ambition of documenting the French countryside led him to"
"Baden-Baden & Freiburg, Ed; Haenssler Classic, 2013 • Debussy - ""La Mer"" & Première Suite d'Orchestre (world premiere), Les Siècles, «Les Siècles Live », Ed. Musicales Actes Sud, Distri. Harmonia Mundi, 2013 • Dukas - ""L'Apprenti Sorcier"" / ""Cantate Velleda"" / ""Polyeucte"", Les Siècles, «Les Siècles Live », Ed. Musicales Actes Sud, Distri. Harmonia Mundi, 2013 • Stravinsky - ""Le Sacre du Printemps"" (1913) & ""Petrouchka"" (1911), First recording on period instruments. Reconstructed version of ""Le Sacre du Printemps"" as heard on 29 May 1913, by special permission of Boosey & Hawkes, Les Siècles, «Les Siècles Live », Ed. Musicales"
"overall impression. The most prominent feature in musical impressionism is the use of ""color"", or in musical terms, timbre, which can be achieved through orchestration, harmonic usage, texture, etc. Other elements of music impressionism also involve new chord combinations, ambiguous tonality, extended harmonies, use of modes and exotic scales, parallel motion, extra-musicality, and evocative titles such as ""Reflets dans l'eau"" (Reflections on the water, 1905), ""Brouillards"" (Mists, 1913) etc. 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"
"Michel Emer Michel Emer (June 19, 1906 – November 23, 1984), (real name Emer Rosenstein), was a French musician, composer and lyricist. His songs have been performed by Edith Piaf, Fréhel, Damia, Lys Gauty, Yves Montand, Jean Sablon, André Claveau, Ray Ventura and his Collegians, Luis Mariano, Tino Rossi, and Eartha Kitt. He also wrote songs for at least one of his wife Jacqueline Maillan's shows. The first of his songs to be sung by Edith Piaf was ""L'Accordéoniste"", which he composed in 1940. He went on to write more than twenty songs for her, including ""J'm'en fous pas mal"","
"""Marseille"", ""Beyond the Sea"", ""Man of the Year"", ""The Diving Bell and the Butterfly"", ""Autómata"", ""The Brand New Testament"", ""Nina"" and ""One Wild Moment"". The Robbie Williams version plays over the closing credits of ""Finding Nemo"" and is included on the soundtrack. La Mer (song) ""La Mer"" (English: ""The Sea"") is a song written by French composer, lyricist, singer and showman Charles Trenet. The song was first recorded by the French singer Roland Gerbeau in 1945. It was not until 1946 that Trenet recorded his own version. When it was released in 1946, it became an unexpected hit, and has"
"the cycle is similar to Smetana's ""Má vlast"" in overall scope. Henri Duparc's ""Lenore"" (1875) displayed a Wagnerian warmth in its writing and orchestration. Franck wrote the delicately evocative ""Les Éolides"", following it with the narrative ""Le Chasseur maudit"" and the piano-and-orchestral tone poem ""Les Djinns"", conceived in much the same manner as Liszt's ""Totentanz"". Ernest Chausson's ""Vivane"" illustrates the penchant shown by the Franck circle for mythological subjects. Claude Debussy's ""Prélude à l'après-midi d'un faune"" (1892-4), intended initially as part of a triptych, is, in the composer's words, ""a very free ... succession of settings through which the Faun's"
"generations of French composers had a much more positive relationship with his music. Messiaen was given a score of ""Pelléas et Mélisande"" as a boy and said that it was ""a revelation, love at first sight"" and ""probably the most decisive influence I have been subject to"". Boulez also discovered Debussy’s music at a young age and said that it gave him his first sense of what modernity in music could mean. Among contemporary composers George Benjamin has described ""Prélude à l'après-midi d'un faune"" as “the definition of perfection”; he has conducted ""Pelléas et Mélisande"" and the critic Rupert Christiansen"
"Tchaikovsky, Alexander Borodin, Nikolai Shcherbachov, Nikolai Rimsky-Korsakov and Alexander Kopylov. Pottery exhibited by Auguste Delaherche, and embroidery designs by Henry Van de Velde. Invited artists include Maximilien Luce, Léo Gausson and Mary Cassatt. Retrospective of Georges Seurat with 18 paintings, including ""La Cirque"" and ""La Parade"". Three concert evenings were organised. The first concert presented the first version of Paul Gilson's ""La Mer"", Guillaume Lekeu's ""Andromède"" and music by Nikolai Rimsky-Korsakov, Alexander Glazunov, and Franz Servais. The second showcased music by Alexis de Castillon, César Franck, Charles Bordes, Louis de Serres and Emmanuel Chabrier. The final concert included the first"
"based on J. M. Synge's ""Riders to the Sea"", as well as incidental music and film scores, such as the 1925 score for ""Joueur d'échecs"" (""Chess Player""). Orchestral music by Rabaud includes a ""Divertissement"" on Russian songs, an ""Eglogue"", a Virgilian poem for orchestra, as well as the symphonic poem ""La procession nocturne"", his best known orchestral work, still occasionally revived and recorded. He also wrote music for chorus and orchestra and two symphonies. His chamber music includes several works for cello and piano as well as a ""Solo de concours"" for clarinet and piano — a virtuosic competition piece"
"Charles Ives in his Symphony No. 2 first used musical quotation techniques on a grand scale at the turn of the 20th century about 65 years earlier). The orchestra plays snatches of Claude Debussy's ""La Mer"", Maurice Ravel's ""La Valse"", Igor Stravinsky's ""The Rite of Spring"", as well as quotations from Arnold Schoenberg, Anton Webern, Johannes Brahms, Henri Pousseur, Paul Hindemith, and many others (including Berio himself) creating a dense collage, occasionally to humorous effect. When one of the reciters says ""I have a present for you"", the orchestra follows immediately with the introductory chord from ""Don"", the first movement"
"of Richard Wagner, he went on to experiment with impressionism in music, atonal music and chromaticism. His most famous works include ""Clair de Lune"" for piano (written ca. 1890, published 1905), ""La Mer"" for orchestra (1905) and the opera ""Pelléas et Mélisande"" (1903-1905). The most revolutionary composer to work in Paris during the ""Belle Époque"" was the Russian-born Igor Stravinsky. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: ""The Firebird"" (1910), ""Petrushka"" (1911) and ""The Rite of Spring"" (1913). The last of these transformed the"