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T h e m a sTe r m u s i c i a n s
Debussy
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T h e ma sTe r mu s i c i a n s
Debussy
å
Eric FrEdErick JEnsEn
1
1
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Library of congress cataloging-in-Publication data
Jensen, eric Frederick, 1951-
debussy / by eric Frederick Jensen.
pages cm.—(master musicians)
includes bibliographical references and index.
isbn 978-0-19-973005-6 (hardcover: alk. paper)
1. debussy, claude, 1862-1918. 2. composers—France—biography. i. Title.
mL410.d28J46 2014
780.92—dc23
[b] 2013030027
1 3 5 7 9 8 6 4 2
Printed in the united states of america
on acid-free paper
Contents
vii
Preface
xi
Abbreviations for Frequently Cited Sources in Notes
1 A Musician’s Apprenticeship � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3
2 The Prix de rome � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �19
3 Establishing a reputation � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �36
4 Years of struggle � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 53
5 divagations, 1900–1904 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �68
6 notoriety and respectability, 1904–1910 � � � � � � � � � � � � � � � � � � � � � � � � � � �84
7 The Final Years, 1910– 1918 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �99
8 debussy and the Arts � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 119
9 student compositions � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 130
10 compositions, 1888– 1893 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �142
11 compositions, 1893–1899 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 161
12 and the Poe Operas � � � � � � � � � � � � � � � � � � � � � � � � � � � � �180
Pelléas et Mélisande
13 compositions, 1900–1912 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 195
14 compositions, 1912–1918 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �226
15 debussy as critic � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �242
v
• •
vi • Contents
Appendices
A� calendar � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �254
B� List of Works 260
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
c� Personalia 273
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
279
Select Bibliography
291
Index
Preface
n
o composer of classical music is more popular today than claude
debussy. Probably the best indication is the thousands of recordings of his
music. There are more than 100 of the Préludes for piano, for example, and nearly
300 of one of his earliest works, the Prelude to the Afternoon of a Faun (with several
of the recordings more than a half century old). The popularity of his music has
helped define current performance practice. debussy’s piano pieces are part of
the canon—taught and studied at practically all levels of skill and proficiency. in
opera houses and concert halls around the world, his compositions have become
staples of the repertory.
What is unusual about debussy’s popularity is the breadth of its appeal. it is rare
to find a composer whose music attracts in substantial numbers those with little or
no background in classical music as well as those who have made it their life’s work.
Like the music of chopin—one of debussy’s favorite composers—his music has the
ability to entice listeners on many levels.
The basis of that appeal is the distinctive sound of his music. although there have
been many imitators, more than a century after much of it was created, debussy’s
music remains fresh and original. The core of its attraction is not a specific attribute
(its tunefulness, for example), but the effect of many elements—the combination of
melody, harmony, and rhythm, as well as its instrumentation and timbre. at its heart
is an engaging simplicity that defies traditional analysis and lends mystery to what
ultimately is an extremely refined and highly personal approach to composition.
debussy lived long enough to experience fame, and his response to it was mixed.
he welcomed it for the income it provided, although there was never enough for
him to live without debt. but he resented the intrusions into his private life that
accompanied it. and he disliked being well known and categorized—as an
“impressionist,” for example.
he was suspicious, too, of strict demarcations between “popular” and “classical”
music. since he made a point of turning his back on much of the recent tradition
in Western classical music, he probably would have resented being viewed solely as
a “classical” composer in the sense that we use the term today. at the same time he
was wary of being “popular”—whether as a composer of “popular” music or as a
popular “classical” composer. To debussy, popularity was usually the consequence of
vii
• •
viii • Preface
pandering to public taste. he was proud of what he perceived of as his indebtedness
to no one and, especially at the outset of his career, was convinced his music would
be little appreciated by the masses.
a respectable portion of debussy’s fame today is based on the popularity of a
dozen or so works, pieces like the Prelude to the Afternoon of a Faun, “Rêverie,” and
“clair de lune.” but they are early compositions and representative of only a small
part of his work. over a nearly forty-year period, debussy composed several hun-
dred pieces, in a multitude of genres and a variety of styles. he made a point of not
repeating himself as a composer, and for listeners there are always surprises and dis-
coveries to be made.
one of the purposes of this book is to present debussy’s music in all its variety.
but another, equally fascinating, is to explore his personality, at times elusive, often
contradictory, but centered in his devotion to music and in his ambition to create a
name for himself as a composer unlike any other.
This work is the first study of debussy’s life and music in twenty years. during
that time a great deal of new information has become available concerning both his
life (especially the student years) and compositions. notable publications include
François Lesure’s comprehensive biography of debussy, first published in 1994.
complementing it is the first complete, annotated edition of debussy’s Correspondance.
debussy wrote thousands of letters. but prior to the publication of the correspondence
in 2005, many had not appeared in print, and those that had, had often appeared in
periodicals rare and difficult to access.
in a similar manner, debussy’s music is now accessible in a scholarly, complete
edition, started in 1985. To date, sixteen volumes (of a proposed thirty-four) have
appeared. each supplies primary sources and subsequent revisions, and is more reli-
able and indicative of debussy’s final thoughts than the standard editions available
(many of which rely on outdated texts, decades old). Thanks to a detailed Catalogue
of debussy’s works, also prepared by François Lesure, new material has also been
provided on the dating of the music.1
Debussy is divided into separate biographical and musical sections. but i
encourage all readers, especially those uncomfortable with music terminology, to
look at the chapters that focus on music (chapters 9–14). The opening of each dis-
cusses in a broad manner debussy’s developing musical style. i have avoided using
jargon, instead focusing on debussy’s changing approach to writing music.
1. an updated version of the catalog was published posthumously (Lesure died in 2001) in the
republication of his debussy biography in 2003. it serves as the basis of the online list prepared by
the centre du documentation claude debussy (http://www.debussy.fr; available in both French
and english translation).
Preface • ix
There are two chapters in Debussy that focus neither on his life nor music. in his
development as a composer, debussy drew not just on musical models, but on all
the arts, including poetry and painting. his interest in the arts led to a wide variety
of labels being associated with his music and a great deal of confusion as to their
validity. debussy’s fascination with the arts, its effect on his music, and the merit of
classifying his music as impressionist or symbolist is the subject of chapter 8. The
final chapter of Debussy (chapter 15) focuses on debussy’s career as a music critic.
he was one of the finest of his time, and the reviews he wrote reveal a great deal
not just about his musical taste but about what he felt the role and function of music
should be.
Primary sources for this book are in French. many of the english translations are
my own, but i have tried whenever possible to direct attention to english-language
editions and have used translations from them (roger nichols’s selection of
debussy’s letters, for example). in those instances, i have compared the translation
with the original for accuracy and updated in the footnotes any changes that might
have occurred in dating, using the Correspondance as the source.
Debussy is a continuation in the master musicians series of the volume written
by edward Lockspeiser, first published in 1944, and revised and updated five times
over the next thirty-eight years. it was a book that inspired generations of readers
(myself included; i first read it nearly forty years ago). it is an honor to be part of
the tradition established by him, and a pleasure to be able to contribute to it.
my thanks to suzanne ryan, editor-in-chief of humanities and executive
editor of music at oxford university Press, for her support and patience in pre-
paring this book for publication. Professor r. Larry Todd, editor of the master
musicians series, provided timely criticism and insight. Jessen o’brien, editorial
assistant at oxford, has been a pleasure to work with and an expert guide in pre-
paring the book for the press.
Peter Veracka, director of the a. T. Wehrle memorial Library of the Pontifical
college Josephinum, has been especially kind and helpful, and provided a large
number of the books and articles i needed for research. my thanks, too, to alexandra
Laederich, curator at the centre de documentation claude debussy, for her
assistance in providing the illustrations.
my wife, allie, died shortly after i completed the first draft of Debussy. she was
an exceptional musician, and a great help and support in writing this book. Debussy
is dedicated to her memory.
Eric Frederick Jensen
columbus, ohio, 2013
