"segment featured animation originally intended for ""Fantasia"" using the Claude Debussy musical composition ""Clair de Lune"" from Suite bergamasque. It featured two egrets flying through the Everglades on a moonlit night. However, by the time ""Make Mine Music"" was released ""Clair de Lune"" was replaced by the new song ""Blue Bayou"", performed by the Ken Darby Singers. However, the original version of the segment still survives. This segment was one of two sections in which Benny Goodman and his Orchestra contributed. Their music played over visuals that were drawn by a pencil as the action occurred. The scene portrayed teens"
"Pour le piano Pour le piano (""For the piano""), L. 95, is a suite for solo piano by Claude Debussy. It consists of three individually composed movements, Prélude, Sarabande and Toccata. The suite was completed and published in 1901. It was premiered on 11 January 1902 at the Salle Érard, played by Ricardo Viñes. Maurice Ravel orchestrated the middle movement. Regarded as Debussy's first mature piano composition, the suite has frequently been recorded. Bärenreiter published a critical edition in 2018, on the occasion of the centenary of Debussy's death. Claude Debussy composed the three pieces forming the suite at different"
"Des pas sur la neige Des pas sur la neige is a musical composition by French composer Claude Debussy. It is the sixth piece in the composer's first book of ""Préludes"", written between late 1909 and early 1910. The title is in French and translates to ""Footprints in the Snow"" The piece is 36 measures long and takes approximately three and a half to four and a half minutes to play. It is in the key of D minor. The piece is one of four Debussy preludes in both books whose title origins are unknown. David Schiff suggests that the"
"Préludes (Debussy) Claude Debussy's Préludes are 24 pieces for solo piano, divided into two books of 12 preludes each. Unlike previous collections of preludes, such as those of J.S. Bach and Chopin's Op. 28, Debussy's does not follow a strict pattern of key signatures. Each book was written in a matter of months, at an unusually fast pace for Debussy. Book I was written between December 1909 and February 1910, and Book II between the last months of 1912 and early April 1913. Two of the titles were set in quotation marks by Debussy because they are, in fact, quotations:"
"Prélude à l'après-midi d'un faune Prélude à l'après-midi d'un faune (""""L."" 86""), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was first performed in Paris on 22 December 1894, conducted by Gustave Doret. The flute solo was played by Georges Barrère. Debussy's work later provided the basis for the ballet ""Afternoon of a Faun"" choreographed by Vaslav Nijinsky and a later version by Jerome Robbins. The composition was inspired by the poem ""L'après-midi d'un faune"" by Stéphane Mallarmé. It is one of"
"it, along with other music by Debussy, in 2011. Several pianists' recordings were published in 2018, the year of the centenary of the composer's death, including Jörg Demus, Peter Frankl, Rafał Blechacz and Samson François within recordings of the composer's complete piano works. Pour le piano Pour le piano (""For the piano""), L. 95, is a suite for solo piano by Claude Debussy. It consists of three individually composed movements, Prélude, Sarabande and Toccata. The suite was completed and published in 1901. It was premiered on 11 January 1902 at the Salle Érard, played by Ricardo Viñes. Maurice Ravel orchestrated"
"Peter Breiner, Luc Brewaeys, Hans Henkemans, and Colin Matthews. Sean Osborn and conductor Noam Zur have orchestrated the first book. Préludes (Debussy) Claude Debussy's Préludes are 24 pieces for solo piano, divided into two books of 12 preludes each. Unlike previous collections of preludes, such as those of J.S. Bach and Chopin's Op. 28, Debussy's does not follow a strict pattern of key signatures. Each book was written in a matter of months, at an unusually fast pace for Debussy. Book I was written between December 1909 and February 1910, and Book II between the last months of 1912 and"
"Petite Suite (Debussy) The Petite Suite, L 65, is a suite for Piano four hands by Claude Debussy. It has been transcribed many times, most notably in an orchestral version by Debussy's colleague Henri Büsser. The suite, which was composed from 1886 to 1889, was first performed on 2 February 1889 by Debussy and pianist–publisher Jacques Durand at a salon in Paris. It may have been written due to a request (possibly from Durand) for a piece that would be accessible to skilled amateurs, as its simplicity is in stark contrast with the modernist works that Debussy was writing at"
"Petite Suite (Debussy) The Petite Suite, L 65, is a suite for Piano four hands by Claude Debussy. It has been transcribed many times, most notably in an orchestral version by Debussy's colleague Henri Büsser. The suite, which was composed from 1886 to 1889, was first performed on 2 February 1889 by Debussy and pianist–publisher Jacques Durand at a salon in Paris. It may have been written due to a request (possibly from Durand) for a piece that would be accessible to skilled amateurs, as its simplicity is in stark contrast with the modernist works that Debussy was writing at"
"has been regarded as Debussy's first mature piano work. The suite consists of three movements: The first movement, called Prélude, is marked ""Assez animé et très rythmé"" (With spirit and very rhythmically). It was dedicated to Debussy's student Mlle Worms de Romilly, who notes that the movement ""tellingly evokes the gongs and music of Java"". The pianist Angela Hewitt notes that Prélude begins with a theme in the bass, followed by a long pedal point passage. The theme is repeated in chords marked fortissimo, together with glissando runs that Debussy connected to ""d’Artagnan drawing his sword"". In a middle section,"
"La cathédrale engloutie La Cathédrale engloutie (""The Submerged Cathedral"") is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like ""La Mer"", ""Des pas sur la neige"","
"Preludes (Messiaen) Préludes pour piano (""Preludes for piano"") is an early work for piano by the French composer Olivier Messiaen composed in 1928–1929, when the composer was 20 years old. Messiaen considered it to be his first work of any value. The composition is based on Messiaen's modes of limited transposition, and betrays an influence of Debussy's preludes. The pieces were premiered by the composer in a private performance at the Concerts Durand which took place on January 28, 1930. The first public performance was given by Henriette Roget on March 1, 1930, at the Salle Érard at the Société"
"in 2007. La cathédrale engloutie La Cathédrale engloutie (""The Submerged Cathedral"") is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces with the exact image that he was composing about, like ""La Mer"", ""Des pas sur"
"En blanc et noir En blanc et noir (L 134) is a suite for two pianos composed by Claude Debussy in 1915. It consists of three movements: an energetic waltz for the first movement (""Avec emportement""), a sombre second movement composed in memory of Debussy's friend Jacques Charlot killed in the First World War (""Lent. Sombre""), and a playful ""Scherzando"" to bring the piece to a close. It was composed during a late flourish in the composer's prolific output, along with his Cello Sonata, Sonata for flute, viola and harp, and the piano ""Études"" to which it is often compared."
"Nationale in Paris. The work is in eight movements, each accompanied by a description consisting mostly of the associated colors. It takes about 34 minutes to play in full. Preludes (Messiaen) Préludes pour piano (""Preludes for piano"") is an early work for piano by the French composer Olivier Messiaen composed in 1928–1929, when the composer was 20 years old. Messiaen considered it to be his first work of any value. The composition is based on Messiaen's modes of limited transposition, and betrays an influence of Debussy's preludes. The pieces were premiered by the composer in a private performance at the"
"regarded ""Prélude à l'après-midi d'un faune"" (1894) as his first orchestral masterpiece. Newman considered it ""completely original in idea, absolutely personal in style, and logical and coherent from first to last, without a superfluous bar or even a superfluous note""; Pierre Boulez observed, ""Modern music was awakened by ""Prélude à l'après-midi d'un faune"""". Most of the major works for which Debussy is best known were written between the mid-1890s and the mid-1900s. They include the String Quartet (1893), ""Pelléas et Mélisande"" (1893–1902), the ""Nocturnes for Orchestra"" (1899) and ""La mer"" (1903–1905). The suite ""Pour le piano"" (1894–1901) is, in Halford's"
"within a score and the desire to create discontinuity in a way mirrored in later 20th century music. In this piece, Debussy abandoned the whole-tone scale he had often favoured previously in favour of the octatonic scale with what the Debussy scholar François Lesure describes as its tonal ambiguities. Among the late piano works are two books of ""Préludes"" (1909–10, 1911–13), short pieces that depict a wide range of subjects. Lesure comments that they range from the frolics of minstrels at Eastbourne in 1905 and the American acrobat ""General Lavine"" ""to dead leaves and the sounds and scents of the"
"Clair de lune (Fauré) ""Clair de lune"", (""Moonlight"") Op. 46 No 2, is a song by Gabriel Fauré, composed in 1887 to words by Paul Verlaine. The pianist Graham Johnson writes that it closes Fauré's second period and opens the doors into his third. Johnson notes that it is ""for many people the quintessential French mélodie"". The lyric is from Verlaine's early collection ""Fêtes galantes"" (1869). It inspired not only Fauré but Claude Debussy, who set it in 1881 and wrote a well known piano piece inspired by it in 1891. Fauré's 1887 setting is for voice and piano; in"
"Hair"" for clarinet and string orchestra, which was performed by the Slovak Radio Symphony Orchestra and Richard Stoltzman. Footnotes Bibliography La fille aux cheveux de lin La fille aux cheveux de lin is a musical composition for solo piano by French composer Claude Debussy. It is the eighth piece in the composer's first book of ""Préludes"", written between late 1909 and early 1910. The title is in French and translates roughly to ""The Girl with the Flaxen Hair"". The piece is 39 measures long and takes approximately two and a half minutes to play. It is in the key of"
"all costs bar the door of the Institut [de France] against a man capable of such atrocities; they should be put next to the cubist pictures."" En blanc et noir En blanc et noir (L 134) is a suite for two pianos composed by Claude Debussy in 1915. It consists of three movements: an energetic waltz for the first movement (""Avec emportement""), a sombre second movement composed in memory of Debussy's friend Jacques Charlot killed in the First World War (""Lent. Sombre""), and a playful ""Scherzando"" to bring the piece to a close. It was composed during a late flourish"
"Voiles Voiles is a composition by Claude Debussy for solo piano from 1909. It is the second piece in a set of twelve préludes published in 1910. The title of the piece may be translated to English as either ""veils"" or ""sails""; both meanings can be connected to the musical structure (see below). Except for some mild, localized chromaticism and a short pentatonic passage, the entire piece uses the whole tone scale. In their published form, the ""Préludes"" have their individual titles printed not at the start, but at the end—and in parentheses. The composition studies the whole tone scale"
"the time. The work, which lasts about 13 minutes in performance, has four movements: The first two movements are settings of poems from the volume ""Fêtes galantes"" by Paul Verlaine (1844–1896). The ""Petite Suite"" was orchestrated by Debussy's colleague Henri Büsser in 1907, and published by A. Durand & Fils. Büsser's transcription calls for two flutes (second doubling piccolo), two oboes (second doubling cor anglais), two clarinets, two bassoons, two horns, two trumpets, timpani, percussion (cymbals, tambourine and triangle), harp, and strings. The work has also been transcribed for clarinets, for harp, for brass band, and for chamber wind ensemble."
"that this prelude—arguably the most technically challenging prelude of the entire collection—was situated in-between the two that are the simplest to play out of the twenty-four. Footnotes Bibliography Ce qu'a vu le vent d'ouest Ce qu'a vu le vent d'ouest (""""What the west wind saw"""") is a musical composition by French composer Claude Debussy. It is the seventh piece in the composer's first book of ""Préludes"", written between late 1909 and early 1910. The piece is 72 measures long, taking approximately four minutes to play. It is in the key of F minor. The title of the piece was inspired"
"La plus que lente La plus que lente, L. 121 (, ""The more than slow""), is a waltz for solo piano written by Claude Debussy in 1910, shortly after his publication of the Préludes, Book I. The piece debuted at the New Carlton Hotel in Paris, where it was transcribed for strings and performed by the popular 'gipsy' violinist, Léoni, for whom Debussy wrote it (and who was given the manuscript by the composer). Despite its title, ""La plus que lente"" was not meant to be played slowly; ""lente,"" in this context, refers to the ""valse lente"" genre that Debussy"
"combination for the flute than the oboe's, so he changed the instrumentation to flute, viola and harp. The instrumentation would later become a standard ensemble instrumentation. The work has three movements: The sonata for violin and piano, L. 140, was written in 1917. It was the composer's last major composition and is notable for its brevity; a typical performance lasts about 13 minutes. The premiere took place on 5 May 1917, the violin part played by Gaston Poulet, with Debussy himself at the piano. It was his last public performance. The work has three movements: Debussy wrote in the manuscript"
"La fille aux cheveux de lin La fille aux cheveux de lin is a musical composition for solo piano by French composer Claude Debussy. It is the eighth piece in the composer's first book of ""Préludes"", written between late 1909 and early 1910. The title is in French and translates roughly to ""The Girl with the Flaxen Hair"". The piece is 39 measures long and takes approximately two and a half minutes to play. It is in the key of G major. The piece, named after the eponymous poem by Leconte de Lisle, is known for its musical simplicity, a"
"Prelude, Fugue and Allegro in E-flat major, BWV 998 Prelude, Fugue, and Allegro in E-flat major, BWV 998, is a musical composition written by Johann Sebastian Bach for Lute or Harpsichord. The piece was written around 1735. The original manuscript with the title ""Prelude pour la Luth. ò Cembal. Par J.S. Bach"" was sold at Christie's on July 13, 2016 for £2,518,500. The movements in this piece are: The Prelude is similar to the Well-Tempered Clavier (the second book of which dates from around the same time as this work), in which there are many arpeggios. There is a pause"
"inspiration, some citing the resemblance between this waltz and Debussy's earlier work, ""Ballade"". During the same year of its composition, an orchestration of the work was conceived, but Debussy opposed the score's heavy use of percussion and proposed a new one, writing to his publisher: La plus que lente La plus que lente, L. 121 (, ""The more than slow""), is a waltz for solo piano written by Claude Debussy in 1910, shortly after his publication of the Préludes, Book I. The piece debuted at the New Carlton Hotel in Paris, where it was transcribed for strings and performed by"
"suite lasts roughly 15 minutes. The suite is in six movements, each with an English-language title. This choice of language is most likely Debussy's nod towards Chou-Chou's English governess. The pieces are: A typical performance of the suite lasts roughly 15 minutes. The title of the first alludes to Johann Joseph Fux's (1660-1741), ""Gradus ad Parnassum"" (""Steps to Parnassus""). ""Gradus ad Parnassum"" ""became the first 'counterpoint text' in the modern sense and the greatest schoolbook in the history of European music."" Although it is unlikely that this textbook would be found on the book shelf of the average French pianist,"
"Claude Debussy's 24 Préludes for piano, or Pavel Zemek Novak's 24 Preludes and Fugues for piano to cover all the keys. (Paganini may not have been aware of Pierre Rode's 24 Caprices for violin, which did span the 24 keys and were written almost as the same time as Paganini's.) Chopin's 24 Études, Opp. 10 & 25 might have originally been planned to be in all 24 keys. In fact, apart from Nos. 7 and 8, the first series (Op. 10) is made of couples of études in a major key and its parallel minor (the major key either preceding"
"Première rhapsodie The Première rhapsodie (First Rhapsody) by Claude Debussy is a piece for accompanied solo clarinet. Composed between December 1909 and January 1910, it was dedicated to the French clarinet professor Prosper Mimart. In 1909, Gabriel Fauré, Director of the Paris Conservatoire, named Debussy to its board of directors (""le Conseil Supérieur""). One of Debussy's first duties was to supply two works for the next year's clarinet examinations. The ""Rhapsodie"" was first performed as part of the examinations on July 14, 1910. The original composition was for clarinet and piano; Debussy published his own orchestration of the accompaniment in"
"The ""Prélude"" at first listening seems improvisational and almost free-form; however, closer observation will demonstrate that the piece consists of a complex organization of musical cells, motifs carefully developed and traded between members of the orchestra. A close analysis of the piece reveals a high amount of consciousness of composition on Debussy's part. The main musical themes are introduced by woodwinds, with delicate but harmonically advanced underpinnings of muted horns, strings and harp. Recurring tools in Debussy's compositional arsenal make appearances in this piece: extended whole-tone scale runs, harmonic fluidity without lengthy modulations between central keys, and tritones in both"
"likely the date he completed the pieces rather than the day he started writing them, given that some of them were quite long and musically complex. The piece was first published in April 1910, along with the rest of his preludes from Book I. It premiered later that year at the Salle Érard in Paris, with Debussy himself performing the work. Debussy was known for being extremely particular in organizing his preludes. Pianist and musical writer Paul Roberts asserts that this prelude, along with the two that immediately follow it, forms ""the central arch"" of Book I's structure, since the"