Table Of ContentDEBUSSY AND HIS WORLD
OTHER PRINCETON UNIVERSITY PRESS VOLUMES
PUBLISHED IN CONJUNCTION WITH
THE BARD MUSIC FESTIVAL
Brahrns and His World
edited by Waiter Frisch (1990)
Mendelssohn and His World
edited by R. Larry Todd (1991)
Richard Strauss and His World
edited by Bryan Gilliam (1992)
Dvofak and His World
edited by Michael Beckerman (1993)
Schumann and His World
edited by R. Larry Todd (1994)
Bartok and His World
edited by Peter Laki (1995)
Charles Ives and His World
edited by J. Peter Burkhoider (1996)
Haydn and His World
edited by Eiaine R. Sisman ( 1997)
Tchaikovsky and His World
edited by Leslie Kearney ( 1998)
Schoenberg and His World
edited by Waiter Frisch ( 1999)
Beethoven and His World
edited by Scott Burnham and Michaei P. Steinberg (2000)
F i r m
EDITED BY JANE F. FULCHER
PRINCETON UNIVERSITY PRESS
PRINCETON AND OXFORD
Copyright© 2001 by Princeton University Press
Published by Princeton University Press, 41 William Street,
Princeton, New Jersey 08540
In the United Kingdom: Princeton University Press,
3 Market Place, Woodstock, Oxfordshire OX20 lSY
All Rights Reserved
The musical examples from "Les Papillons" in Marie Rolf's essay are reproduced with per
mission of the Music Division, The New York Public Library for the Performing Arts, Astor,
Lenox and Tilden Foundations. The musical examples from Daniel reprinted in John
Clevenger's essay, "Debussy's Rome Cantatas," are reproduced with permission of Jephta
Drachman; those from Le Gladiateur are reproduced with permission of the Bibliotheque
Nationale. The photographs of paintings reproduced in Leon Botstein's essay are used with
the following permission: Nocturne in Blue and Silver by J ames McNeill Whistler: Courtesy of
the Fogg Art Museum, Harvard University Art Museums, bequest ofGrenville L. Winthrop,
photo by Katya Kallsen; The Burning of the Houses of Lords and Commons, October 16, 1834,
1835 by J.M.W. Turner: oil on canvas 92.7xl23.2 cm, photograph copyright ©The
Cleveland Museum of Art, 2001, bequest ofJ ohn L. Severance, 1942.647; The Old Musician
by Edouard Manet: 1862 oil on canvas, Chester Dale Collection, photograph copyright
©2001 Board of Trustees, National Gallery of Art, Washington, D.C.; and Yvonne Lerolle in
Three Poses by Maurice Denis: oil on canvas, Samuel Josefowitz Collection, Lausanne,
Switzerland. Photograph copyright © 2001 Artists Rights Society (ARS), New York/ADAP,
Paris. Permission to reproduce the documents about Achille-Claude Debussy's Paris
Conservatoire training comes from the Archives Nationales in Paris.
Library of Congress Cataloging-in-Publication Data
Debussy and his world I edited by Jane F. Fulcher.
p. cm. - (The Bard Music Festival series)
Includes bibliographical references and index.
ISBN 0-691-09041-6 (cloth: alk. paper)-ISBN 0-691-09042-4 (pbk.: alk. paper)
1. Debussy, Claude, 1862-1918-Criticism and interpretation. 2. Music-19th
century-History and criticism. 3. Music-20th century-History and criticism.
I. Fulcher, Jane F. II. Series.
ML410.D28 D37 2001 780'.92-dc21 2001027840
British Library Cataloging-in-Publication Data is available
This publication has been produced by the Bard College Publications Office:
Ginger Shore, Director
Mary Smith, Art Director
Designed by Juliet Meyers
Composed in Baskerville by Natalie Kelly
Text edited by Paul De Angelis
Music typeset by Don Giller
Printed on acid-free paper. oo
www.pup.princeton.edu
Printed in the United States of America
1 3 5 7 9 10 8 6 4 2
1 3 57 9 10 8 6 4 2
(Pbk.)
For Carl E. Schorske
Contents
Acknowledgments IX
PART I
THE EVOLUTION
Introduction: Constructions and Reconstructions of Debussy 1
JANE F. FULCHER
Debussy's Rome Cantatas
JOHN R. CLEVENGER 9
Debussy, Gautier, and "Les Papillons"
MARIE ROLF 99
Bilitis and Tanagra: Mternoons with Nude Women
DAVIb GRAYSON 117
Beyond the Illusions of Realism: Painting and
Debussy's Break with Tradition
LEON BOTSTEIN 141
The Symphony in Debussy's World: A Context for His
Views on the Genre and Early Interpretations of La Mer
BRIAN HART 181
Speaking the Truth to Power: The Dialogic Element
in Debussy's Wartime Compositions
203
JANE F. FULCHER
PART 11
THE CONTEXT
Debussy, Faun~, and d'Indy and Conceptions of the Artist:
The Institutions, the Dialogues, the Conflicts
235
GAlL HILSON WOLDU
Debussy, Mallarme, and "Les Mardis"
255
ROSEMARY LLOYD
Debussy in Fin-de-Siecle Paris
CHRISTOPHE CHARLE 271
CoNTENTS
PART Ill
DOCUMENTS
Debussy's Paris Conservatoire Training 299
COLLECTED, EDITED, AND INTRODUCED BY
JOHN R. CLEVENGER
"Le Cas Debussy": Revisions and Polemics about the
Composer's "New Manner" 363
COLLECTED AND TRANSLATED BY
BRIAN HART
Index 383
Notes on Contributors 394
• viii •
Acknowledgments
I wish to thank Leon Botstein for giving me the opportunity to explore
new aspects of Debussy and his reuvre, together with my colleagues in
the field. I am also grateful to the other members of the Bard Music
Festival Committee, Robert Martin, Mark Loftin, and Irene Zedlacher
for their role in bringing this festival and volume about. In additon, I
wish to express my gratitude to those members of the Bard Publications
Office with whom I have worked so closely on this volume, and who
have provided me with such excellent advice and support-Paul De
Angelis, Natalie Kelly, and Ginger Shore. I also would like to thank Don
Giller for his expert work in preparing the musical examples, and Fred
Appel, at Princeton University Press for all his help in the process of
preparing this book. All of us participating in the volume wish to thank
those individuals and libraries (cited in the appropriate articles and on
the copyright page) which so generously gave us the permission to use
their materials. Finally, I wish to thank Arno J. Mayer, of Princeton
University, for his willingness to read portions of this manuscript, and
especially his excellent advice concerning my introduction and essay.
• IX •
