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Debussy Heights
Debussy Heights is a heights which rise to 1,300 m (at Ravel Peak) east of Mozart Ice Piedmont in the north part of Alexander Island. First mapped from air photos taken by the Ronne Antarctic Research Expedition (RARE), 1947-48, by Searle of the Falkland Islands Dependencies Survey (FIDS) in 1960. Named by the United Kingdom Antarctic Place-Names Committee (UK-APC) after Claude Debussy (1862-1918), French composer.
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Eastbourne
Eastbourne (say East-born) () is a large town and borough of East Sussex, on the south coast of England, with an estimated population of 97,992 as of 2009. The area has seen human activity since the Stone Age and it remained one of small settlements until the 19th century when its four hamlets gradually merged to form a town. Assisted by the arrival of the railway in 1849, Eastbourne became a prime Victorian seaside resort and still is today.
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Jersey
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Passy Cemetery
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Trocadéro
:For the origins of the word Trocadero, and other places where it has been used, see Trocadero (disambiguation).
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4492 Debussy
4492 Debussy is a main belt asteroid. It was discovered on 17 September 1988 by Eric Elst. It is named after the French composer Claude Debussy. It is believed to measure approximately 10 km in diameter.
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Albert Lavignac
Albert Lavignac (Paris 21 January 1846 – Paris, 28 May 1916) was a French music scholar, known for his essays on theory, and a minor composer.
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Alexander Borodin
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André Caplet
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Anton Webern
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Antônio Carlos Jobim
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Arthur Hartmann
Arthur Hartmann (July 22, 1881 - March 30, 1956) was an American violinist, composer and friend of Claude Debussy.
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Bill Evans
William John Evans, known as Bill Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Michel Petrucciani and Keith Jarrett, as well as many other musicians world-wide. The music of Bill Evans continues to inspire younger pianists like Marcin Wasilewski, Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias and arguably Brad Mehldau, early in his career. He is considered by some to be the most influential post World War II jazz pianist.
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Béla Bartók
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Carl Maria von Weber
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Claude Debussy
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César Franck
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Duke Ellington
Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was a composer, pianist, and big band leader.
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Edgar Allan Poe
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Emma Bardac
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Erik Satie
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Ernest Chausson
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Ernest Guiraud
Ernest Guiraud (26 June 1837 – 6 May 1892) was a French composer and music teacher born in New Orleans, Louisiana. He is best known for writing the traditional orchestral recitatives used for Bizet's opera Carmen and for Offenbach's opera ''Les contes d'Hoffmann (The Tales of Hoffmann'').
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Eugène Ysaÿe
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Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy, born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 18094 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
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Franz Liszt
Franz Liszt (, from 1859 to 1867 officially Franz Ritter von Liszt) (October 22, 1811July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher.
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Franz Schubert
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Frédéric Chopin
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Gabriele d'Annunzio
'''Gabriele D'Annunzio or d'Annunzio (ennobled by the King of Italy in 1924 as Principe di Montenevoso'''; ; 12 March 1863 – 1 March 1938) was an Italian poet, journalist, novelist, dramatist, and daredevil. His role in politics is controversial due to his influence on the Italian Fascist movement and his status as the alleged forerunner of Benito Mussolini.
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Gaetano Donizetti
Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti's most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from ''L'elisir d'amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto'' opera.
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George Gershwin
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Georges Bizet
Georges Bizet (25 October 1838 – 3 June 1875) was a French composer and pianist of the Romantic era. He is best known for the opera Carmen.
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Giorgi Latsabidze
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Giuseppe Verdi
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Harold C. Schonberg
Harold Charles Schonberg (November 29, 1915 – July 26, 2003) was an American music critic and journalist, most notably for The New York Times. He was the first music critic to win the Pulitzer Prize for Criticism (1971). He also wrote a number of books on musical subjects, and one on chess.
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Haydn
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Heinrich Heine
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Herbie Hancock
Herbert Jeffrey "Herbie" Hancock (born April 12, 1940, in Chicago, Illinois) is an American pianist, bandleader and composer. As part of Miles Davis's "second great quintet", Hancock helped redefine the role of a jazz rhythm section, and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace synthesizers and funk. Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.
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Igor Stravinsky
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Isidor Philipp
Isidor Philipp (2 September 186320 February 1958) was a French pianist, composer, and distinguished pedagogue of Hungarian descent. He was born in Budapest and died in Paris.
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J. M. W. Turner
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Jean-Philippe Rameau
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John Williams
John Towner Williams (born February 8, 1932) is a prolific American composer, conductor, and pianist. In a career spanning six decades, he has composed many of the most recognizable film scores in the history of motion pictures, including those for Jaws, the Star Wars Saga, Superman, the Indiana Jones films, E.T. the Extra-Terrestrial, Hook, Jurassic Park, ''Schindler's List, Home Alone, and three Harry Potter'' films. He has composed the music for all but two of director Steven Spielberg's feature films.
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Jules Massenet
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Ludwig van Beethoven
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Mary Garden
Mary Garden (20 February 1874 - 3 January 1967), was a Scottish operatic soprano with a substantial career in France and America in the first third of the 20th century. She spent the latter part of her childhood and youth in the United States and eventually became an American citizen, although she lived in France for many years and eventually retired to Scotland, where she died.
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Maurice Ravel
Joseph-Maurice Ravel (March 7, 1875December 28, 1937) was a French composer of Impressionist music known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
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Mily Balakirev
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Muzio Clementi
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Nadezhda von Meck
Nadezhda Filaretovna von Meck () ( - ) was a Russian businesswoman, who is best known today for her artistic relationship with Pyotr Ilyich Tchaikovsky. She supported him financially for 13 years, enabling him to devote himself full-time to composition, but she stipulated that they were never to meet. She was the dedicatee of his Symphony No. 4 in F minor. She was also an influential patron of the arts in general, active in providing financial support to Nikolai Rubinstein and Claude Debussy.
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Olivier Messiaen
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Paul Dukas
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Paul Verlaine
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Philip Glass
Philip Morris Glass (born January 31, 1937) is an American music composer. He is considered one of the most influential composers of the late 20th century and is widely acknowledged as a composer who has brought art music to the public (along with precursors such as Richard Strauss, Kurt Weill and Leonard Bernstein).
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Pierre Boulez
Pierre Boulez () (born March 26, 1925) is a French composer of contemporary classical music and a conductor.
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Richard Strauss
Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known particularly for his operas, Lieder, and tone poems. Strauss, along with Gustav Mahler, represents the extraordinary late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's music had a profound influence on the development of music in the twentieth century. Strauss was also a prominent conductor.
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Richard Wagner
Wilhelm Richard Wagner (, ; 22 May 1813 13 February 1883) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Famous extracts from his operas include the "Ride of the Valkyries" and the Bridal Chorus from Lohengrin, popularly known as the wedding march "Here Comes the Bride".
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Rimsky-Korsakov
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Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 181029 July 1856) was a German composer, aesthete and influential music critic.
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Rudolph Reti
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Sergei Diaghilev
Sergei Pavlovich Diaghilev ( / Sergei Pavlovich Dyagilev ) (31 March 187219 August 1929), usually referred to outside of Russia as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.
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Steve Reich
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Stéphane Mallarmé
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Tchaikovsky
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Thelonious Monk
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Toru Takemitsu
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Émile Durand
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String Quartet, Piano Trio, Deux Danses, Reverie (harp: Sioned Williams; piano: Jean-Efflam Bavouzet; Brodsky Quartet)
Released 2012
Released 2012
- Premier Quatuor, Op. 10 - I. Animéet tres décide
- Premier Quatuor, Op. 10 - II. Assez vif et bien rythmé
- Premier Quatuor, Op. 10 - III. Andantino doucement expressif
- Premier Quatuor, Op. 10 - IV. Tres modéré
- Deux Danses - I. Danse sacrée
- Deux Danses - II. Danse profane
- Premier Trio - Andantino con moto allegro
- Premier Trio - Scherzo
- Premier Trio - Andante espressivo
- Premier Trio - Finale
- Reverie
- Pour Le Piano - I. Prelude
- Pour Le Piano - II. Sarabande
- Pour Le Piano - III. Toccata
- Estampes - I. Pagodes
- Estampes - II. Soiree Dans Grenade
- Estampes - III. Jardins Sous La Pluie
- L'Isle Joyeuse - L'Isle Joyeuse
- Prelude And Fugue In C Sharp Minor - Prelude Lento, Ma Non Troppo, Rubato
- Prelude And Fugue In C Sharp Minor - Fugue Andante
- Sonata In C Minor, Op. 8 - I. Allegro Moderato
- Sonata In C Minor, Op. 8 - II. Adagio
- Sonata In C Minor, Op. 8 - III. Tempo Di Minuetto
- Sonata In C Minor, Op. 8 / IV. Finale - Introduzione
- Sonata In C Minor, Op. 8 / IV. Finale - Fuga A Tre Voci
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BBC Music, Volume 20, Number 5: The Martyrdom of Saint Sebastian (BBC National Orchestra and Chorus of Wales, soprano: Elizabeth Atherton, mezzo-soprano: Tove Dahlbery, Jennifer Johnston, narrator: Irène Jacob)
Released 2012
Released 2012
- The Martyrdom of Saint Sebastian: Mansion 1: The Court of Lilies
- The Martyrdom of Saint Sebastian: Mansion 2: The Magic Chamber
- The Martyrdom of Saint Sebastian: Mansion 3: The Council of the False Gods
- The Martyrdom of Saint Sebastian: Mansion 4: The Wounded Laurel
- The Martyrdom of Saint Sebastian: Mansion 5: Paradise
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Clair de lune (soprano : Natalie Dessay, piano : Philippe Cassard)
Released 2012
Released 2012
- Nuit d’étoiles
- Pantomime
- Clair de lune
- Pierrot
- Apparition
- En sourdine
- Fête galante
- Romance (l’Âme évaporée)
- Les Cloches
- Rondel chinois
- Flots, palmes, sables
- La Romance d’Ariel
- Regret
- Le Matelot qui tombe à l’eau
- Coquetterie posthume
- L’Archet
- Romance
- Les Elfes
- La Damoiselle élue
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BBC Music, Volume 19, Number 1: Debussy & Ravel - Piano Masterpieces
Released 2010
Released 2010
- Sonatine: Modéré
- Sonatine: Mouvement de menuet
- Sonatine: Animé
- Forlane (from Le tombeau de Couperin)
- Pavane pour une infante défunte
- Hommage à Haydn
- Menuet sur le nom d'Haydn
- D'un cahier d'esquisses
- Images oubliées: Lent (Mélancolique et Doux)
- Images oubliées: Souvenir du Louvre
- Images oubliées: Quelques aspects de nous n'irons plus au bois' parce qu'll fait un temps insupportable
- Etude retrouvée
- Nocturne
- À la manière de... Chabrier
- Ballade
- Préludes, Book I, No I: Danseuses de Delphes: Lent et grave
- Préludes, Book I, No II: Voiles: Modéré
- Préludes, Book I, No III: Le vent dans la plain: Animé
- Préludes, Book I, No IV: Les sons et les parfums tournent dans l'air du soir: Modéré
- Préludes, Book I, No V: Les collines d'Anacapri: Très modéré
- Préludes, Book I, No VI: Des pas sur la neige: Triste et lent
- Préludes, Book I, No VII: Ce qu'a vu le vent d'Ouest: Animé et tumultueux
- Préludes, Book I, No VIII: La fille aux cheveux de lin: Très calme et doucement expressif
- Préludes, Book I, No IX: La sérénade interrompue: Modérément animé
- Préludes, Book I, No X: La cathédrale engloutie: Profondément calme
- Préludes, Book I, No XI: La danse de Puck: Capricieux et léger
- Préludes, Book I, No XII: Minstrels: Modéré
- Préludes, Book II, No I: Brouillards: Modéré
- Préludes, Book II, No II: Feuilles mortes: Lent et Mélancolique
- Préludes, Book II, No III: La Puerta del Vino: Mouvement de Habanera
- Préludes, Book II, No IV: Les fées sont d'exquises danseuses: Rapide et léger
- Préludes, Book II, No V: Bruyères: Calme
- Préludes, Book II, No VI: General Lavine -- eccentric: Dans le style et le mouvement d'un Cakewalk
- Préludes, Book II, No VII: La terrasse des audiences du clair de lune: Lent
- Préludes, Book II, No VIII: Ondine: Scherzando
- Préludes, Book II, No IX: Hommage à S. Pickwick, Esq., P.P.M.P.C.: Grave
- Préludes, Book II, No X: Canope: Très calme et doucement triste
- Préludes, Book II, No XI: Les tierces alternées: Modérément animé
- Préludes, Book II, No XII: Feux d'artifice: Modérément animé
- Études, L. 136: I. Pour les « cinq doigts » d'après monsieur Czerny
- Études, L. 136: II. Pour les tierces
- Études, L. 136: III. Pour les quartes
- Études, L. 136: IV. Pour les sixtes
- Études, L. 136: V. Pour les octaves
- Études, L. 136: VI. Pour les huits doigts
- Études, L. 136: VII. Pour les degrés chromatiques
- Études, L. 136: VIII. Pour les agréments
- Études, L. 136: IX. Pour les notes répétées
- Études, L. 136: X. Pour les sonorités opposées
- Études, L. 136: XI. Pour les arpèges composés
- Études, L. 136: XII. Pour les accords
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Images / Prélude à l'après-midi d'un faune / La Mer (Orchestre de l'Académie Sainte-Cécile de Rome, feat. conductor: Leonard Bernstein)
Released 2008
Released 2008
- Images pour orchestre: No. 1 Gigues
- Images pour orchestre: No. 3 Rondes de printemps. No. 2 Ibéria
- Images pour orchestre: Par les rues et par les chemins
- Images pour orchestre: Les parfums de la nuit
- Images pour orchestre: Le matin d'un jour de fête
- Prélude à l'après-midi d'un faune
- La mer: De l'aube à midi sur la mer
- La mer: Jeux de vagues
- La mer: Dialogue du vent et de la mer
- Ariettes oubliees - C'est l'extase langoureuse
- Ariettes oubliees - Il pleure dans mon coeur
- Ariettes oubliees - L'ombre des arbres
- Ariettes oubliees - Chevaux de bois
- Ariettes oubliees - Green
- Ariettes oubliees - Spleen
- 5 poemes de Charles Baudelaire - Le balcon
- 5 poemes de Charles Baudelaire - Harmonie du soir
- 5 poemes de Charles Baudelaire - Le jet d'eau
- 5 poemes de Charles Baudelaire - Recueillement
- 5 poemes de Charles Baudelaire - La mort des amants
- Jane
- Caprice
- Fetes galantes - En sourdine
- Fetes galantes - Fantoches
- Fetes galantes - Clair de lune
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Complete Works for Piano, Volume 2 (piano: Jean-Efflam Bavouzet)
Released 2007
Released 2007
- Ballade slave
- Valse romantique
- Danse (Tarantelle styrienne)
- Images oubliées: 1. Lent (Mélancolique et doux)
- Images oubliées: 2. Dans le mouvement d'une Sarabande
- Images oubliées: 3. Quelques aspects de "Nous n'irons plus au bois"
- Estampes : Pagodes Modérément animé
- Estampes : La soirée dans Grenade - Mouvement de habanera
- Estampes : Jardin sous la pluie Net et vif
- Pour le piano: I. Prélude. À Mademoiselle M.W. De Romilly. Assez animé et très rythmé - Tempo di cadenza - Tempo I
- Pour le piano: II. Sarabande. À Madame E. Rouart. Avec une élégance grâve et lente
- Pour le piano: III. Toccata. À N.G. Coronio. Vif
- Masques
- L'isle joyeuse
- D'un cahier d'esquisses
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BBC Music, Volume 14, Number 9: Printemps, Petite Suite & Images (BBC Scottish Symphony Orchestra feat. conductors Ilan Volkov and Pierre-André Valade)
Released 2006
Released 2006
- Printemps: Très modéré
- Printemps: Modéré
- Petite Suite: En bateau
- Petite Suite: Cortège
- Petite Suite: Menuet
- Petite Suite: Ballet
- Images: Gigues
- Images: Ibéria: Par les rues at par les chemins
- Images: Ibéria: Les parfums de la nuit
- Images: Ibéria: Le matin d'un jour de féte
- Images: Rondes de printemps
- Nocturnes: II. Fêtes
- String Quartet No. 1 in G minor, Op. 10: I. Animé et très décidé
- Prélude à l'après-midi d'un faune
- 3 Estampes: No. 3 Jardins sous la pluie
- Cello sonata in D minor: I. Prologue
- Suite bergamasque: III. Clair de lune (orch. A. Caplet)
- Violin Sonata in G minor: II. Intermède: fantastique et léger
- Préludes, Book 1: No. 8 La fille aux cheveux de lin
- La Mer: II. Jeux de vagues
- Pelleas et Melisande, Act III, Scene 1: Une des tours du château
- Préludes, Book 1: No. 12 Minstrels
- Rhapsodie Arabe pour saxophone alto et orchestre
- Estampes: Partie I, Pagodes
- Estampes: Partie II, La soirée dans grenade
- Estampes: Partie III, Jardins sous la pluie
- Images, série 1: Partie I, Reflets dans l'eau
- Images, série 1: Partie II, Hommage à rameau
- Images, série 1: Partie III, Mouvement
- Images, série 2: Partie I, Cloches à travers les feuilles
- Images, série 2: Partie II, Et la lune descend sur le temple qui fut
- Images, série 2: Partie III, Poissons d'or
- Images Oubliées: Partie I, Lent
- Images Oubliées: Partie II, Dans le mouvement d'une sarabande, c'est à dire avec une élégance grave et lente, même un peu vieux portrait, souvenir du louvre, etc.
- Images Oubliées: Partie III, Quelques aspects du « nous n'irons plus au bois » parce qu'il fait un temps insupportable
- Ballade
- Valse romantique
- Rêverie
- Préludes, Book 1 No. 1: Danseuses et Delphes. Lent et grave
- Préludes, Book 1 No. 2: Voiles. Modéré
- Préludes, Book 1 No. 3: Le vent dans la plaine. Animé
- Préludes, Book 1 No. 4: Les sons et les parfums tournent dans l'air du soir. Modéré
- Préludes, Book 1 No. 5: Les collines d'Anacapri. Très modéré
- Préludes, Book 1 No. 6: Des pas sur la neige. Triste et lent
- Préludes, Book 1 No. 7: Ce qu'a vu le vent d'ouest. Animé et tumultueux
- Préludes, Book 1 No. 8: La fille aux cheveux de lin. Très calme et doucement expressif
- Préludes, Book 1 No. 9: La sérénade interrompue. Modérément animé
- Préludes, Book 1 No. 10: La cathédrale engloutie. Profondément calme
- Préludes, Book 1 No. 11: La danse de Puck. Capricieux et léger
- Préludes, Book 1 No. 12: Minstrels. Modéré
- Préludes, Book 2 No. 1: Brouillards. Modéré
- Préludes, Book 2 No. 2: Feuilles mortes. Lent et mélancolique
- Préludes, Book 2 No. 3: La Puerta del Vino. Mouvement de Habanera
- Préludes, Book 2 No. 4: Les fées sont d'exquises danseuses. Rapide et léger
- Préludes, Book 2 No. 5: Bruyères. Calme
- Préludes, Book 2 No. 6: General Lavine - excentric. Dans le style et le mouvement d'un Cake-Walk
- Préludes, Book 2 No. 7: La terrasse des audiences du clair de lune. Lent
- Préludes, Book 2 No. 8: Ondine. Scherzando
- Préludes, Book 2 No. 9: Hommage à S. Pickwick Esq. P.P.M.P.C. Grave
- Préludes, Book 2 No. 10: Canope. Très calme et doucement triste
- Préludes, Book 2 No. 11: Les tierces alternées. Modérément animé
- Préludes, Book 2 No. 12: Feux d'artifice. Modérément animé
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La Mer / Images pour orchestre No. 2 "Ibéria" (Munchner Philharmoniker feat. conductor: Sergiu Celibidache)
Released 2005
Released 2005
- [applause]
- La Mer: I. De l'aube à midi sur la mer
- La Mer: II. Jeux de vagues
- La Mer: III. Dialogue du vent et de la mer
- [applause]
- [applause]
- Images pour orchestre, "Ibéria": I. Par les rues et par les chemins
- Images pour orchestre, "Ibéria": II. Les Parfums de la nuit
- Images pour orchestre, "Ibéria": III. Le matin d'un jour de fête
- [applause]
- Suite bergamasque, L. 75 No. 1: Prelude
- Suite bergamasque, L. 75 No. 2: Menuet
- Suite bergamasque, L. 75 No. 3: Clair de lune
- Suite bergamasque, L. 75 No. 4: Passepied
- Estampes, L. 100 No. 1: Pagodes
- Estampes, L. 100 No. 2: Soirée dans Grenade
- Estampes, L. 100 No. 3: Jardins sous la pluie
- L'isle joyeuse, L. 106
- Images for Piano, Set I, L. 110 No. 1: Reflets dans l'eau
- Images for Piano, Set I, L. 110 No. 2: Hommage à Rameau
- Images for Piano, Set I, L. 110 No. 3: Mouvement
- Images for Piano, Set II, L. 111 No. 1: Cloches à travers les feuilles
- Images for Piano, Set II, L. 111 No. 2: Et la lune descend sur le temple qui fut
- Images for Piano, Set II, L. 111 No. 3: Poissons d'or
- Children's Corner, L. 113 No. 1: Doctor Gradus ad Parnassum
- Children's Corner, L. 113 No. 2: Jimbo's Lullaby
- Children's Corner, L. 113 No. 3: Serenade for the Doll
- Children's Corner, L. 113 No. 4: The Snow is Dancing
- Children's Corner, L. 113 No. 5: The Little Shepherd
- Children's Corner, L. 113 No. 6: Golliwog's Cake-walk
- La plus que lente, L. 121
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BBC Music, Volume 12, Number 7: Songs Of Travel (BBC Symphony Orchestra feat. conductor: Thierry Fischer, baritone: Christopher Maltman)
Released 2004
Released 2004
- Don quichotte à dulcinee: I. Chanson romanesque
- Don quichotte à dulcinee: II. Chanson épique
- Don quichotte à dulcinee: III. Chanson à boire
- Le livre de baudelaire: I. Le balcon
- Le livre de baudelaire: II. Harmonie du soir
- Le livre de baudelaire: III.Le jet D'eau
- Le livre de baudelaire: IV. Recueillement
- Songs of travel: I. The vagabond
- Songs of travel: II. Let beauty awake
- Songs of travel: III. The roadside fire
- Songs of travel: IV. Youth and love
- Songs of travel: V. In dreams
- Songs of travel: VI. The infinite shining heavens
- Songs of travel: VII. Whither must: i. wander?
- Songs of travel: VIII. Bright is the ring of words
- Songs of travel: IX.: I. have trod the upward and the downward slope
- Valses nobles et sentimentales: I. Modéré
- Valses nobles et sentementales: II. Assez lent
- Valses nobles et sentimentales: III. Modéré
- Valses nobles et sentimentales: IV. Assez animé
- Valses nobles et sentimentales: V.Presque lent
- Valses nobles et sentimentales: VI. Assez vif
- Valses nobles et sentimentales: VII. Moins vif
- Valse nobles et sentimentales: VIII. Epilogue: Lent
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Debussy: Pelléas et Mélisande-Suite / Prélude à l'après-midi d'un faune / 3 Nocturnes (Berlin Philharmonic Orchestra feat. conductor: Claudio Abbado)
Released 2003
Released 2003
- Prélude à l'après-midi d'un faune
- Nocturnes: I. Nuages
- Nocturnes: II. Fêtes
- Nocturnes: III. Sirènes
- Pelleas et Mélisande Suite: Acte I. Une forêt
- Pelleas et Mélisande Suite: Acte II, Scène I. Une fontaine dans le parc
- Pelleas et Mélisande Suite: Acte III, Scène II. Les souterrains du château / Acte IV. Un appartement dans le château
- Pelleas et Mélisande Suite: Acte V. Une chambre dans le château
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Debussy Orchestral and Piano Works (feat. piano: Jean-Bernard Pommier)
Released 2003
Released 2003
- Pour le piano: I. Prélude
- Pour le piano: II. Sarabande
- Pour le piano: III. Toccata
- Children's Corner: I. Doctor Gradus ad Parnasssum
- Children's Corner: II. Jimbo's Lullaby
- Children's Corner: III. Serenade for the Doll
- Children's Corner: IV. The Snow is Dancing
- Children's Corner: V. The Little Shepherd
- Children's Corner: VI. Golliwogg's Cake Walk
- Estampes: Pagodes
- Estampes: La soirée dans Grenade
- Estampes: Jardins sous la pluie
- La plus que lente (Valse)
- 2 Arabesques: I. Andantino con moto
- 2 Arabesques: II. Allegretto scherzando
- Pièce pour le vêtement du blessé (page d'album)
- L'Isle joyeuse
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Pelléas et Mélisande-Suite / Prélude à l'après-midi d'un faune / 3 Nocturnes
Released 2003
Released 2003
- Prélude à l'après-midi d'un faune
- 3 Nocturnes: I. Nuages: Modéré - Un peu animé
- 3 Nocturnes: II. Fêtes: Animé et très rythmé - Modéré mais toujours
- 3 Nocturnes: III. Sirènes: Modérément animé
- Pelléas et Mélisande - Concert Suite: Acte I. Une forêt
- Pelléas et Mélisande - Concert Suite: Acte II, scène 1. Une fontaine dans le parc
- Pelléas et Mélisande - Concert Suite: Acte III, scène 2. Les souterrains du château / Acte IV, scène 2. Un appartement dans le château
- Pelléas et Mélisande - Concert Suite: Acte V. Une chambre dans le château
- Prologue
- I. La cour des lys: N°1
- I. La cour des lys: N°2
- I. La cour des lys: N°2
- II. La chambre magique: N°1
- II. La chambre magique: N°2
- II. La chambre magique: N°3
- III. Le concile des faux dieux: N°1
- III. Le concile des faux dieux: N°2
- III. Le concile des faux dieux: N°3
- III. Le concile des faux dieux: N°4
- III. Le concile des faux dieux: N°5
- III. Le concile des faux dieux: N°6
- III. Le concile des faux dieux: N°7
- IV. Le laurier blessé: N°1
- IV. Le laurier blessé: N°2
- IV. Le laurier blessé: N°3
- V. Le paradis: N°1
- V. Le paradis: N°2
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BBC Music, Volume 9, Number 11: Debut Recordings by Elisabeth Batiashvili (violin), Alexander Melnikov (piano), Belcea Quartet
Released 2001
Released 2001
- Partita No.1 in B minor, BWV 1002: I. Allemande
- Partita No.1 in B minor, BWV 1002: II. Double
- Partita No.1 in B minor, BWV 1002: III. Courante
- Partita No.1 in B minor, BWV 1002: IV. Double (Presto)
- Partita No.1 in B minor, BWV 1002: V. Sarabande
- Partita No.1 in B minor, BWV 1002: VI. Double
- Partita No.1 in B minor, BWV 1002: VII. Tempo di Bourrée
- Partita No.1 in B minor, BWV 1002: VIII. Double
- Piano Sonata No.1 in C minor, Op. 4: I. Allegro maestoso
- Piano Sonata No.1 in C minor, Op. 4: II. Minuetto: Allegro -- Trio
- Piano Sonata No.1 in C minor, Op. 4: III. Larghetto
- Piano Sonata No.1 in C minor, Op. 4: IV. Finale:Presto
- String Quartet: I. Animé
- String Quartet: II. Assez vif et bien rythmé
- String Quartet: III. Andantino, doucement expressif
- String Quartet: IV. Trés modéré
- La mer - de l'aube a midi sur la mer
- La mer - jeux de vagues
- La mer - dialogue du vent et de la mer
- Prélude a l'aprés - midi d'un faune
- Nocturnes - nuages
- Nocturnes - fétes
- (Nocturnes) sirénes
- Suite Bergamasque: I. Prélude. Moderato (tempo rubato)
- Suite Bergamasque: II. Menuet. Andantino
- Suite Bergamasque: III. Clair de lune. Andante très expressif
- Suite Bergamasque: IV. Passepied. Allegretto ma non troppo
- Estampes: Pagodes. Modérément animé
- Estampes: La Soirée dans Grenade. Mouvement de Habanera
- Images: Reflets dans l'eau. Andantino molto
- L'Isle joyeuse
- Sonatine: I. Modéré
- Sonatine: II. Mouvement de menuet
- Sonatine: III. Animé
- Miroirs: La Vallée des cloches. Très lent
- Kreisleriana Op. 16: I. Äußerst bewegt
- Kreisleriana Op. 16: II. Sehr innig und nicht zu rasch
- Kreisleriana Op. 16: III. Sehr aufgeregt
- Kreisleriana Op. 16: IV. Sehr langsam
- Kreisleriana Op. 16: V. Sehr lebhaft
- Kreisleriana Op. 16: VI. Sehr langsam
- Kreisleriana Op. 16: VII. Sehr rasch
- Kreisleriana Op. 16: VIII. Schnell und spielend
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Debussy: String quartet in G minor / Ravel: String quartet in F major / Berg: String quartet
Released 1999
Released 1999
- String Quartet in G minor, Op. 10: I. Animé et très décidé
- String Quartet in G minor, Op. 10: II. Assez vif et bien rythmé
- String Quartet in G minor, Op. 10: III. Andantino, doucement expressif
- String Quartet in G minor, Op. 10: IV. Très modéré - Très mouvementé et avec passion
- String Quartet in F major: I. Allegro moderato
- String Quartet in F major: II. Assez vif - Trés rythmé
- String Quartet in F major: III. Très lent
- String Quartet in F major: IV. Vif et agité
- String Quartet, Op. 3: I. Langsam
- String Quartet, Op. 3: II. Mässige Viertel
- Préludes : 1er Livre : I. Danseuses de Delphes : Lent et grave
- Préludes : 1er Livre : II. Voiles : Modéré
- Préludes : 1er Livre : III. Le vent dans la plaine : Animé
- Préludes : 1er Livre : IV. « Les sons et les parfums tournent dans l'air du soir » : Modéré
- Préludes : 1er Livre : V. Les collines d'Anacapri : Très modéré
- Préludes : 1er Livre : VI. Des pas sur la neige : Triste et lent
- Préludes : 1er Livre : VII. Ce qu'a vu le vent d'ouest : Animé et tumultueux
- Préludes : 1er Livre : VIII. La fille aux cheveux de lin : Très calme et doucement expressif
- Préludes : 1er Livre : IX. La sérénade interrompue : Modérément animé
- Préludes : 1er Livre : X. La cathédrale engloutie : Profondément calme
- Préludes : 1er Livre : XI. La danse de Puck : Capricieux et léger
- Préludes : 1er Livre : XII. Minstrels : Modéré
- L'Isle joyeuse : Modéré et très souple
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The Complete Music for Two Pianos (piano: Stephen Coombs, Christopher Scott)
Released 1999
Released 1999
- En blanc et noir: I. Avec emportement
- En blanc et noir: II. Lent, sombre
- En blanc et noir: III. Scherzando
- Prélude à l'après-midi d'un faune
- Lindaraja
- Trois Nocturnes No. 1: Nuages
- Trois Nocturnes No. 2: Fêtes
- Trois Nocturnes No. 3: Sirènes
- Danse sacrée et danse profane: I. Danse sacrée
- Danse sacrée et danse profane: II. Danse profane
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Debussy: La Mer / Ravel: Daphnis & Chloe Suite 2 (London Symphony Orchestra feat. conductor: Leopold Stokowski)
Released 1997
Released 1997
- La Mer - From Dawn Till Noon on the Sea
- La Mer - Play of the Waves
- La Mer - Dialog of The Wind and Sea
- Prelude to the Afternoon of a Faun
- The Engulfed Cathedral
- Daphnis & Chloé Suite No.2 - Lever du Jour
- Daphnis & Chloé Suite No.2 - Pantomime
- Daphnis & Chloé Suite No.2 - Danse Générale
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Quartet in C minor Op. 51 No. 1 / Quartet in G minor Op. 10 (Artaria Quartet of Boston)
Released 1997
Released 1997
- Quartet in C minor Op. 51 No. 1: Allegro
- Quartet in C minor Op. 51 No. 1: Romanze: Poco Allegro
- Quartet in C minor Op. 51 No. 1: Allegretto molto moderato e comodo
- Quartet in C minor Op. 51 No. 1: Allegro
- Quartet in G minor Op. 10: Animé et très decidé
- Quartet in G minor Op. 10: Assez vif et bien rythmé
- Quartet in G minor Op. 10: Andantino, doucement expressif
- Quartet in G minor Op. 10: Très modéré; Très mouvemente
- Reverie
- Beau Soir
- Menuet
- Arabesque #1
- Arabesque #2
- Clair De Lune (From Suite Bergamasque)
- Le Petit Berger (From Children's Corner)
- La Plus Que Lente
- En Bateau
- Doctor Gradus Ad Parnassum (From Children's Corner)
- Prelude (From Suite Bergamasque)
- La Fille Aux Cheveux De Lin (From Preludes 1)
- Bruyeres (From Preludes 2)
- Reverie (reprise)
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La Mer / Prélude à l'après-midi d'un faune / Ibéria / O cantinho das crianças (Philharmonia Slavonica / Orquestra da Ópera de Viena / Malcom Binns)
Released 1996
Released 1996
- La Mer: I. De l'aube à midi sur la mer
- La Mer: II. Jeux des vagues
- La Mer: III. Dialogue du vent et de la mer
- Suite bergamasque: III. Clair de lune
- Arabesque No. 1
- Prélude à l'après-midi d'un faune
- Ibéria: I. Par les rues et les chemins
- Ibéria: II. Les parfums de la nuit
- Ibéria: III. Le matin d'un jour de fête
- O cantinho das crianças
- Suite Bergamasque: Prélude: Moderato (feat. piano: Dieter Goldmann)
- Suite Bergamasque: Menuet: Andantino (feat. piano: Dieter Goldmann)
- Suite Bergamasque: Passepied: Allegretto ma non troppo (feat. piano: Dieter Goldmann)
- Jeux (Radiosymphonieorchester Ljubljana, ORF-Symphonieorchester feat. conductor: Milan Horvat)
- Streichquartett in g-Moll, Op. 10: Animé et très décidé (Endress-Quartett)
- Streichquartett in g-Moll, Op. 10: Assez vif et bien rythmé (Endress-Quartett)
- Streichquartett in g-Moll, Op. 10: Andantino, doucement expressif (Endress-Quartett)
- Streichquartett in g-Moll, Op. 10: Très modéré - Très mouvementé et avec passion (Endress-Quartett)
- La Soirée dans Grenade (feat. piano: Dieter Goldmann)
- Images für Klavier: Reflets dans l'eau (feat. piano: Dieter Goldmann)
- Images für Klavier: Hommage à Rameau (feat. piano: Dieter Goldmann)
- Images für Klavier: Mouvement (feat. piano: Dieter Goldmann)
- Iberia: Par les rues et par les chemins (ORF-Symphonie Orchester feat. conductor: Milan Horvat)
- Iberia: Les Parfums de la nuit (ORF-Symphonie Orchester feat. conductor: Milan Horvat)
- Iberia: Le Matin d'un jour de fête (ORF-Symphonie Orchester feat. conductor: Milan Horvat)
- Estampes: Pagodes
- Reverie (feat. piano: Dieter Goldmann)
- La Fille Aux Cheveux De Lin
- Les Collines D'Anacapri (feat. piano: Pavica Gvozdic)
- Sonate für Violine und Klavier in g-Moll: Allegro vivo
- Sonate für Violine und Klavier in g-Moll: Intermède: Fantasque et léger
- Sonate für Violine und Klavier in g-Moll: Finale: Très animé
- Chansons de Bilitis - La flûte de Pan (Pierre Louÿs)
- Chansons de Bilitis - La chevelure (Pierre Louÿs)
- Chansons de Bilitis - Le tombeau des Naïades (Pierre Louÿs)
- Chansons de Bilitis - Beau soir (Paul Bourget)
- Chansons de Bilitis - Mandoline (Paul Verlaine)
- Romances - Romance (Paul Bourget)
- Romances - Les cloches (Paul Bourget)
- Romances - Apparition (Stéphane Mallarmé)
- Trois poèmes de Stéphane mallarmé - Soupir
- Trois poèmes de Stéphane mallarmé - Placet futile
- Trois poèmes de Stéphane mallarmé - Eventail
- Nuit d'étoiles (Théodore de Banville)
- Paysage sentimental (Paul Bourget)
- La Damoiselle Elue (Dante Gabriel Rossetti)
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Debussy: La Mer; Prélude à l'après-midi d'un faune; Danse; Nocturnes
Released 1993
Released 1993
- I. De l'aube à midi sur la mer
- II. Jeux de vagues
- III. Dialogue du vent et de la mer
- Prélude à l'après-midi d'un faune
- Danse
- I. Nuages
- II. Fêtes
- III. Sirènes
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The Music of Claude Debussy (feat. flute: Linda Chesis, harp: Sara Cutler)
Released 1993
Released 1993
- Sonate for Flute, Viola & Harp: I. Pastorale
- Sonate for Flute, Viola & Harp: II. Interlude
- Sonate for Flute, Viola & Harp: III. Final
- Chansons de Bilitis
- Beau Soir
- Children's Corner: I. Doctor Gradus ad Parnassum
- Children's Corner: II. Jimbo's Lullaby
- Children's Corner: III. Serenade of the Doll
- Children's Corner: IV. The Snow is Dancing
- Children's Corner: V. The Little Shepherd
- Children's Corner: VI. Golliwogg's Cakewalk
- L'isle joyeuse
- La fille aux cheveux de lin, Prelude No. 8, Book 1
- Tarantelle styrienne (Danse)
- La Mer: De l'aube à midi sur la mer
- La Mer: Jeux des vagues
- La Mer: Dialogue du vent et de la mer
- Prélude à l'après-midi d'un faune
- Nuages
- Fêtes
- Printemps-Symphonic Suite: Très Modéré
- Printemps-Symphonic Suite: Modéré
- Prelude
- Menuet
- Clair de Lune
- Passepied
- Lent
- Tres vite
- Reverie
- Danse (Tarantelle Styrienne)
- Premiere Arabesque
- Deuxieme Arabesque
- Ballade
- Valse Romatique
- Nocturne
- Dans Bohemienne
- Prelude
- Sarabande
- Toccata
- La mer: I. De l'aube à midi sur la mer
- La mer: II. Jeux de vagues
- La mer: III. Dialogue de vent et de la mer
- Nocturnes: I. Nuages
- Nocturnes: II. Fêtes
- Nocturnes: III. Sirènes
- Printemps: I. Très modéré
- Printemps: II. Modéré
- Rhapsody for clarinet and orchestra
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La Mer / Prélude à l'après-midi d'un faune / Arabesque No. 2 / Clair de lune
Released 1988
Released 1988
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Le petit nègre / Deux arabesques / La plus que lente / L'isle joyeuse / Douze études (feat. piano: Théodore Paraskivesco)
Released 1987
Released 1987
- Première arabesque
- Deuxième arabesque
- La plus que lente
- Le petit nègre
- L'Isle joyeuse
- Pour les cinq doigts
- Pour les tierces
- Pour les quartes
- Pour les sixtes
- Pour les octaves
- Pour les huit doigts
- Pour les degrés chromatiques
- Pour les agréments
- Pour les notes répétées
- Pour les sonorités opposées
- Pour les arpèges composés
- Pour les accords
- Preludes Book 1 No. 1 Danseuses De Delphe
- Preludes Book 1 No. 2 Voiles
- Preludes Book 1 No. 3 Le Vent Dans La Plaine
- Preludes Book 1 No. 4 Les Sons Et Les Parfums Tournent Dans L'Air Du Soir
- Preludes Book 1 No. 5 Les Collines D'Anacapri
- Preludes Book 1 No. 6 Des Pas Sur La Neige
- Preludes Book 1 No. 7 Ce Qu'a Vu Le Vent D'Ouest
- Preludes Book 1 No. 8 La Fille Aux Cheveux De Lin
- Preludes Book 1 No. 9 La Serenade Interrompue
- Preludes Book 1 No. 10 La Cathedrale Engloutie
- Preludes Book 1 No. 11 La Danse De Puck
- Preludes Book 1 No. 12 Minstrels
- Preludes Book 2 No. 1 Brouillards
- Preludes Book 2 No. 2 Feuilles Mortes
- Preludes Book 2 No. 3 La Puerta Del Vino
- Preludes Book 2 No. 4 Les Fees Sont D'Exquises Danseuses
- Preludes Book 2 No. 5 Bruyeres
- Preludes Book 2 No. 6 General Lavine - Eccentric
- Danseuses De Delphe
- Voiles
- Le Vent Dans La Plaine
- Les Sons Et Les Parfums Tournent Dans L'Air Du Soir
- Les Collines D'Anacapri
- Des Pas Sure La Neige
- Ce Qu'a Vu Le Vent D'Ouest
- La Fille Aux Cheveux De Lin
- Le Serenade Interrompue
- La Cathedrale Engloutie
- La Danse De Puck
- Ministrels
- Mélodies de jeunesse: 1. Apparition
- Mélodies de jeunesse: 2. Romance
- Mélodies de jeunesse: 3. Les papillons
- Mélodies de jeunesse: 4. Calmes dans le demi jour
- Mélodies de jeunesse: 5. Regret
- Ariettes oubliées: 1. C'est l'extase
- Ariettes oubliées: 2. Il pleure dans mon coeur
- Ariettes oubliées: 3. L'ombre des arbres...
- Ariettes oubliées: 4. Paysages belges: Chevaux de bois
- Ariettes oubliées: 5. Aquarelles: Green
- Ariettes oubliées: 6. Aquarelles: Spleen
- Proses lyriques: 1. De rêve
- Proses lyriques: 2. De grêve
- Proses lyriques: 3. De fleurs
- Proses lyriques: 4. De soir
- Trois poèmes de Stéphane Mallarmé: 1. Soupir
- Trois poèmes de Stéphane Mallarmé: 2. Placet futile
- Trois poèmes de Stéphane Mallarmé: 3. Éventail
- Trois Chansons de France: 1. La temps a laissé son manteau
- Trois Chansons de France: 2. La Grotte
- Trois Chansons de France: 3. Pour ce que Plaisance est morte
- Mandoline
- Fêtes Galantes II: 1. Les Ingénus
- Fêtes Galantes II: 2. Le Faune
- Fêtes Galantes II: 3. Colloque sentimental
- Trois Mélodies de Paul Verlaine: 1. La mer est plus belle
- Trois Mélodies de Paul Verlaine: 2. Le son du cor s'afflige
- Trois Mélodies de Paul Verlaine: 3. L'échelonnement des haies
- Nuit d'étoiles
- Aimons-nous et dormons
- Trois Ballades de François Villon: 1. Villon à sa mie
- Trois Ballades de François Villon: 2. Pière à Nostre Dame
- Trois Ballades de François Villon: 3. Des femmes de Paris
- La Belle au Bois Dormant
- Beau soir
- Les cloches
- Romance
- Le Promenoir des Deux Amants: 1. Auprès de cette grotte sombre
- Le Promenoir des Deux Amants: 2. Crois mon conseil, chère Climène
- Le Promenoir des Deux Amants: 3. Je tremble en voyant ton visage
- Le Noël des Enfants qui n'ont plus de maison
- Suite Bergamasque : I. Prélude
- Suite Bergamasque : II. Menuet
- Suite Bergamasque : III. Clair de lune
- Suite Bergamasque : IV. Passepied
- Prélude à l'après-midi d'un faune
- Children's Corner, Suite pour piano : I. Doctor Gradus ad Parnassum
- Children's Corner, Suite pour piano : II. Jimbo's lullaby
- Children's Corner, Suite pour piano : III. Serenade for the Doll
- Children's Corner, Suite pour piano : IV. The Snow is Dancing
- Children's Corner, Suite pour piano : V. The Little Shepherd
- Children's Corner, Suite pour piano : VI. Golliwog's Cake-Walk
- Syrinx pour flûte seule
- Prélude I, douze pièces pour piano : No. 8 La fille aux cheveux de lin
- Prélude I, douze pièces pour piano : No. 9 La Cathédrale engloutie
- Arabesques, pour piano : No. 1 en mi majeur
- Arabesques, pour piano : No. 2 en sol majeur
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Ravel: Boléro / La Valse / Debussy: Prélude à l'Après-Midi d'un Faune / Nocturnes
- Nocturnes: Triptyque symphonique pour orchestre et chœurs: Nuages: Modéré - Un peu animé
- Nocturnes: Triptyque symphonique pour orchestre et chœurs: Fêtes: Animé et très rythmé - Modéré mais toujours très rythmé - De plus en plus sonore et en serrant le mouvement
- Nocturnes: Triptyque symphonique pour orchestre et chœurs: Sirènes: Modérément animé
- Prélude à l'après-midi d'un faune: Très modéré
- La Valse: Poème chorégraphique: Mouvement de valse viennoise
- Boléro: Tempo di Boléro moderato assai
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Trois Nocturnes, Jeux (Concertgebouw Orchestra feat. conductor: Bernard Haitink)
- Rêverie
- Nocturne En Ré Bémol Majeur
- Ballade Slave
- Masques
- Danse Bohémienne
- Le Petit Nègre
- Berceuse Héroïque
- En Blanc Et Noir - Avec Emportement
- En Blanc Et Noir - Lent - Sombre
- En Blanc Et Noir - Scherzando
- Petite Suite - En Bateau
- Petite Suite - Cortège
- Petite Suite - Menuet
- Petite Suite - Ballet
- Lindaraja
- Six Épigraphes Antiques - Pour Invoquer Pan, Dieu Du Vent D'Été
- Six Épigraphes Antiques - Pour Un Tombeau Sans Nom
- Six Épigraphes Antiques - Pour Que La Nuit Soit Propice
- Six Épigraphes Antiques - Pour La Danseuse Aux Crotales
- Six Épigraphes Antiques - Pour L'Egyptienne
- Six Épigraphes Antiques - Pour Remercier La Pluie Au Matin
- Marche Écossaise
- Suite bergamasque: I. Prélude. Moderato
- Suite bergamasque: II. Menuet. Andantino
- Suite bergamasque: III. Clair de lune. Andante très expressif
- Suite bergamasque: IV. Passepied. Allegretto ma non troppo
- Deux arabesques: I. Andantino con moto
- Deux arabesques: II - Allegretto scherzando
- Children's Corner: Doctor Gradus ad Parnassum. Modérément animé
- Children's Corner: Jimbo's Lullaby. Assez modéré
- Children's Corner: Serenade for the Doll. Allegretto ma non troppo, léger et gracieux
- Children's Corner: The Snow Is Dancing. Modérément animé
- Children's Corner: The Little Shepherd. Très modéré
- Children's Corner: Golliwogg's Cake-Walk. Allegro giusto
- Images, Livre I: Reflets dans l'eau
- Images, Livre I: Hommage à Rameau
- Images, Livre I: Mouvement. Avec une légèreté fantasque et précise
- Images, Livre II: Cloches à travers les feuilles
- Images, Livre II: Et la lune descend sur le temple qui fut
- Images, Livre II: Poissons d'or
Born: 1862-08-22
Died: 1918-03-25
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Debussy, Clair de lune (piano music)
- Order: Reorder
- Duration: 5:07
- Published: 10 Dec 2005
- Updated: 26 Aug 2012
Clair de lune, by Claude Debussy, played by Stephen Malinowski, with graphical score. FAQ Q: I like this; how can I support your work? A: If you subscribe to Flattr, click this: flattr.com Q: Wherecan I get free sheet music for this piece? A: Here (courtesy of Clint S. Mars): www.musanim.com Q: Why is the audio/video quality so poor? A: This was encoded by YouTube a long time ago; here's a better version: www.youtube.com Q: I'd like to download this movie to play on my computer/iPod/iPhone/iPad. A: It's here: musanim.cerizmo.com Q I'd like an MP3 of this. A: You can get it at iTunes: tinyurl.com or at Amazon: www.amazon.com Q: I wish I could play this piece. A: You can! If you have a MIDI setup (MIDI keyboard with damper pedal, MIDI piano, and a computer running Windows or Mac OS X), you can play this piece using the conductor program. You need to learn the piece really well, but you don't need to learn to play the piano. The article describing how this works is here ... www.musanim.com ... and the software is available here (free) ... www.musanim.com The performance used in this video was done using this software! Q: Is it just me, or does this piece make everyone cry? A: Maybe not everyone, but lots of people ... www.musanim.com Q: This is not the Clair de lune I learned growing up in France. A: You may be thinking of the song Au clair de la lune: www.musanim.com Q: How did you make this video? A: You can read about it here: www.musanim.com Q: What do the colors mean? A <b>...</b>
http://wn.com/Debussy,_Clair_de_lune_piano_music
Debussy, Arabesque #1, Piano Solo (animation ver. 2)
- Order: Reorder
- Duration: 5:05
- Published: 07 Apr 2010
- Updated: 25 Aug 2012
First Arabesque, by Claude Debussy, performed by Stephen Malinowski, accompanied by an animated score.FAQ Q: Where can I get free sheet music for this piece? A: Here: www.musanim.com Q: I'd like to learn the piano; do you have any advice for me? A: I've put some suggestions here: www.musanim.com Q: Can I download this video (for my iPod/iPad/iPhone/etc.)? A: Yes, you can get it here: musanim.cerizmo.com Q: Can you please do a video of ______? A: Please see: www.musanim.com Q: I don't like this version of the animation ... A: I've posted several versions; see if you like any of these better: www.youtube.com www.youtube.com www.youtube.com www.youtube.com Q: Who is Debussy? A: A French composer; you can read about him here: en.wikipedia.org Q: Is there a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: www.musanim.com There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: www.classicalarchives.com
http://wn.com/Debussy,_Arabesque_1,_Piano_Solo_animation_ver_2
Claude Debussy - Prelude to the Afternoon of a Faun
- Order: Reorder
- Duration: 9:59
- Published: 15 Jan 2008
- Updated: 25 Aug 2012
Painting - On the Hudson Artist - Thomas Doughty
http://wn.com/Claude_Debussy_Prelude_to_the_Afternoon_of_a_Faun
Debussy: Nocturne (1892)
- Order: Reorder
- Duration: 6:48
- Published: 03 May 2009
- Updated: 25 Aug 2012
Claude Debussy (1862 - 1918) Complete music for piano solo (in chronological order) Nocturne (1892)
http://wn.com/Debussy_Nocturne_1892
Clair de Lune
- Order: Reorder
- Duration: 4:43
- Published: 03 Oct 2007
- Updated: 24 Aug 2012
Clair de Lune by Claude Debussy.
http://wn.com/Clair_de_Lune
David Oistrakh, Debussy - Clair de lune
- Order: Reorder
- Duration: 4:21
- Published: 25 Sep 2006
- Updated: 25 Aug 2012
David Oistrakh plays beautifuly Claire de lune. Recorded in Paris, 1962, with Frida Bauer in piano. For whoever is wondering, you may have heard this music on: Frankie and Johnny The Game Ocean's Eleven Ocean's Thirteen Seven Years in Tibet Twilight ... and many other movies
http://wn.com/David_Oistrakh,_Debussy_Clair_de_lune
Reverie - Claude Debussy
- Order: Reorder
- Duration: 5:01
- Published: 05 Aug 2008
- Updated: 25 Aug 2012
With visual arts by Spadecaller, this video features pianist David Delucia's recording of Debussy's dreamy classic, Reverie.
http://wn.com/Reverie_Claude_Debussy
Arturo Michelangeli - Debussy Reflets dans l'eau
- Order: Reorder
- Duration: 4:26
- Published: 27 Feb 2007
- Updated: 25 Aug 2012
Pianist: Arturo Michelangeli playing Claude Debussy's "Reflets dans l'eau" in D-flat major from Images Book 1. "Reflets dans l'eau" translates to "Reflections in the Water." This pianist was hailed as the most mathematical in the 20th century. Aside from Gould, Michelangeli was considered a "human metronome." I find his Debussy ~slightly~ dry, but still amazingly colorful. contradictory statement, i know. Images Book 1 consists of three pieces, all composed within 1904 and 1905. I'm intersted to know, DO YOU CONSIDER DEBUSSY "IMPRESSIONISTIC?" if not.. what do YOU think he is?
http://wn.com/Arturo_Michelangeli_Debussy_Reflets_dans_l'eau
Claude Debussy - Clair de lune
- Order: Reorder
- Duration: 4:59
- Published: 19 Oct 2007
- Updated: 25 Aug 2012
I have recorded more Debussy! anthonytobin.net Debussy's most famous piano work, Clair de lune. To learn more: www.debussypiano.com http anthonytobin.net This piece appeared in Twilight.
http://wn.com/Claude_Debussy_Clair_de_lune
Debussy: Arabesque I (1888)
- Order: Reorder
- Duration: 5:17
- Published: 02 May 2009
- Updated: 25 Aug 2012
Claude Debussy (1862 - 1918) Complete music for piano solo (in chronological order) Deux Arabesque : Arabesque I (1888)
http://wn.com/Debussy_Arabesque_I_1888
Claude Debussy - Reverie (Good quality)
- Order: Reorder
- Duration: 4:24
- Published: 10 Jun 2009
- Updated: 25 Aug 2012
Claude Debussy - Reverie. Performed by Francois-Joël Thiollier. I didn't manage to find a proper sample of this piece on YouTube, thus this upload. I enjoy this play a lot and I hope you will as well :)
http://wn.com/Claude_Debussy_Reverie_Good_quality
Claude Debussy - Nuages
- Order: Reorder
- Duration: 8:00
- Published: 28 Apr 2009
- Updated: 22 Aug 2012
A fantsatic example of impressionist composition.
http://wn.com/Claude_Debussy_Nuages
Dawn Upshaw sings "Chansons de Bilitis" of Debussy - LIVE!
- Order: Reorder
- Duration: 9:48
- Published: 10 Jun 2010
- Updated: 29 Jul 2012
The phenomenally talented Dawn Upshaw and equally gifted Gilbert Kalish perform Debussy's "Trois Chansons de Bilitis." 1. La Flûte de Pan 2. La Chevelure 3. Le Tombeau des Naïades Link to my Dawn Upshaw playlist: www.youtube.com
http://wn.com/Dawn_Upshaw_sings_Chansons_de_Bilitis_of_Debussy_LIVE!
Claude Debussy - Reverie (Original)
- Order: Reorder
- Duration: 4:22
- Published: 25 Jun 2009
- Updated: 25 Aug 2012
A video I made with Claude Debussy's Reverie (new video). Achille-Claude Debussy (August 22, 1862 March 25, 1918) was a French composer. Along with Maurice Ravel, he is considered 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. Debussy is not only among the most important of all French composers; he was also a central figure in European music at the turn of the twentieth century. His music is 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 twentieth 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 composer and as an active cultural participant.
http://wn.com/Claude_Debussy_Reverie_Original
Debussy: L'après-midi d'un faune (Stokowski) part 1/2
- Order: Reorder
- Duration: 6:10
- Published: 01 Jul 2007
- Updated: 25 Aug 2012
A celebrated performance conducted by Leopold Stokowski with the London Symphony Orchestra, Royal Festival Hall, London, 14 June 1972. Part 2 here: www.youtube.com "Prélude à l'après-midi d'un faune" by Claude Debussy. Performed on the double occassion of Stokowski's 90th birthday, and 60th anniversary of his LSO debut. Though he conducted the entire program from that 1912 concert, it was this Debussy performance folks recall most memorably. "Prélude à l'après-midi d'un faune" was a specialty of Stokowski over the years, but he and his soloists surpassed themselves on this night, as you will see! Christopher Palmer wrote in "The Musical Times" that "My most treasured memory of the evening is undoubtedly 'Prélude à l'après-midi d'un faune', which received a reading of exceptional refinement with all the tensions and relaxations effortlessly and beautifully graded, and unerringly poetic solo work from all the woodwind. A flawless performance." in "The Daily Telegraph" Peter Stadlen wrote "Stokowski's legendary hands, though batonless, are put to the strictest functional use. His angular, almost ungainly movements are the simple tools for some of he most masterly conducting the century has witnessed....by what seemingly incongruous flicks of the wrist did he promote the fabulously sensitve solos in 'Prélude à l'après-midi d'un faune'? Never has lifelong global fame rested on more solid foundations." adapted from the liner notes by Edward Johnson Debussy: Prelude to "The <b>...</b>
http://wn.com/Debussy_L'après-midi_d'un_faune_Stokowski_part_1_2
Debussy, Clair de lune, piano solo
- Order: Reorder
- Duration: 5:12
- Published: 07 Feb 2011
- Updated: 25 Aug 2012
FAQ Here is a remake of this (which will hopefully have better audio quality). The original is here: www.youtube.com Q: I'd like to learn how to play the piano; do you have any advice for me? A: I've put some suggestions here: www.musanim.com
http://wn.com/Debussy,_Clair_de_lune,_piano_solo
Debussy: La Mer (Valery Gergiev, London Symphony Orchestra)
- Order: Reorder
- Duration: 9:29
- Published: 26 Nov 2008
- Updated: 25 Aug 2012
Valery Gergiev conducts the London Symphony Orchestra performing Debussy's La Mer. Recorded in March, 2007.
http://wn.com/Debussy_La_Mer_Valery_Gergiev,_London_Symphony_Orchestra
Claude Debussy - Nuages from Nocturnes
- Order: Reorder
- Duration: 8:45
- Published: 05 May 2009
- Updated: 15 Aug 2012
www.youtube.com/symphony The YouTube Symphony Orchestra performs Debussy's Nuages from Noctures @ Carnegie Hall. The world's first collaborative online orchestra performed at Carnegie Hall on April 15, 2009.Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
http://wn.com/Claude_Debussy_Nuages_from_Nocturnes
Debussy - "Clair de Lune"
- Order: Reorder
- Duration: 5:41
- Published: 25 Oct 2007
- Updated: 25 Aug 2012
A obra prima de Claude Debussy.
http://wn.com/Debussy_Clair_de_Lune
Debussy - Voiles
- Order: Reorder
- Duration: 3:42
- Published: 09 Jan 2010
- Updated: 24 Aug 2012
Voiles, number 2 from Book I of Debussy's preludes. Voiles can be translated as 'veils' or 'sails.' Inspired by the performances of the American dancer Loïe Fuller, whose scarf dances were celebrated in Paris at the time. Performed on a digital keyboard, edited and mastered in Digital Performer (MOTU) using Ivory Italian Grand virtual instrument (Synthogy)
http://wn.com/Debussy_Voiles
Debussy The Sunken cathedral
- Order: Reorder
- Duration: 5:32
- Published: 23 Aug 2008
- Updated: 22 Aug 2012
Yakov Flier
http://wn.com/Debussy_The_Sunken_cathedral
Michelangeli - Debussy - La Cathedrale engloutie
- Order: Reorder
- Duration: 6:55
- Published: 21 Dec 2006
- Updated: 24 Aug 2012
Michelangeli - Debussy - La Cathedrale engloutie
http://wn.com/Michelangeli_Debussy_La_Cathedrale_engloutie
Claude Debussy: Prelude a l'apres-midi d'un faune
- Order: Reorder
- Duration: 10:06
- Published: 21 Feb 2009
- Updated: 24 Aug 2012
Another beautiful piece from Claude Debussy. In my opinion, his pieces are so dreamy, and it flows so well. I hope that more people come to apreciate that this is beautiful music. Enjoy ;)
http://wn.com/Claude_Debussy_Prelude_a_l'apres-midi_d'un_faune
Creative Commons / Elenagm
US Navy / Chief Musician Stephen Hassay
Photo: AP / Chris Clark
14 Sep 2012
Britain's royal family says it is suing the French magazine that published topless photos of Kate Middleton sunbathing....
noodls
The 150th anniversary of the birth of Claude Debussy has already been celebrated this year in major music centers on both sides of the Atlantic: Brussels, Paris, Montreal, and London. This fall in Rochester, audiences can look forward to enjoying "the kaleidoscopic work of Debussy, one of the most...(size: 8.9Kb)
Philadelphia Daily News
Even the most devoted classical musicians don't necessarily play their instruments every single day. So it's hard to guess what flutist Mimi Stillman stands to accomplish by recording, on video, Debussy's elusively melodic flute solo Syrinx every day (or close to it) for a year and posting the...(size: 5.7Kb)
Debussy: Preludes Books 1 & 2 – review
30 Aug 2012
The Guardian
Pierre-Laurent Aimard (Deutsche Grammophon) 3...(size: 3.3Kb)
Reuters
LONDON (Reuters) - Pianist Pierre-Laurent Aimard describes Claude Debussy as a "hedonist" of sound, and perhaps that's what makes both of them so French. "I know that if I use these words in this country, or in Germany, this would be interpreted in another way," the voluble 54-year-old titan of the...(size: 3.9Kb)
Taipei Times
Today marks the 150th anniversary of the birth of French composer Claude Debussy (1862-1918), and there is to be a music festival, the âDebussy Touch,â themed on Debussyâs piano works starting tonight. Led by music critic Chiao Yuan-pu as the music director, the festival will feature five top...(size: 3.5Kb)
Deutsche Welle
Claude Debussy had strong links with the visual arts and the literature of his time. His music is unmistakably French, and 150 years after his birthday, sounds as refined and exquisite as ever. Many young people today know the name of Debussy because his composition “Clair de lune” features in the...(size: 4.6Kb)
Debussy exhibition in town
17 Aug 2012
The Saigon Times
VinGallery will celebrate the 150th anniversary of C. Debussy’s birth with a music concert...(size: 0.6Kb)
noodls
Two major festivals centering on famous composers, one celebrating the sesquicentennial of Claude Debussy's birth and the other showcasing the organ music of Johann Sebastian Bach, highlight the fall concert season at the Eastman School of Music. But it's not just classical music that folks can...(size: 9.4Kb)
Two CDs of Debussy piano music from ECM
31 Jul 2012
The Examiner
Related topics keyboard musicchamber music Advertisement Earlier this month ECM New Series released a two-CD collection of the music of Claude Debussy performed on piano. The collection is entitled Préludes because the major share of the content consists of the two books of preludes that Debussy...(size: 12.0Kb)
"Debussy, Music and the Arts"
18 Jul 2012
Japan Times
During the late 19th and early 20th centuries, not only did music, art, literature and the performing arts influence each...(size: 0.8Kb)
This article is about the classical composer. For the crater, see Debussy (crater). For the heights, see Debussy Heights. For the asteroid, see 4492 Debussy.
Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi])[1] (22 August 1862 – 25 March 1918) was a French composer. 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.[2] In France, he was made Chevalier of the Legion of Honour in 1903.[3] A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers.
His music is noted for its sensory component and for not often forming around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.[4]
Contents |
Biography[link]
Early life and studies[link]
Claude Debussy was born in Saint-Germain-en-Laye, France, 22 August 1862, the eldest of five children. His father, Manuel-Achille Debussy, owned a shop where he sold china and crockery and his mother, Victorine Manoury Debussy, was a seamstress. The family moved to Paris in 1867, but in 1870 Debussy's pregnant mother sought refuge from the Franco-Prussian war with a paternal aunt of Claude's in Cannes. Debussy began piano lessons there at the age of seven years with an Italian violinist in his early forties named Cerutti; his lessons were paid for by his aunt. In 1871 he drew the attention of Marie Mauté de Fleurville,[5] who claimed to have been a pupil of Frédéric Chopin. Debussy always believed her, although there is no independent evidence of her claim.[6] His talents soon became evident, and in 1872, at age ten, Debussy entered the Paris Conservatoire, where he spent eleven years. During his time there he studied composition with Ernest Guiraud, music history/theory with Louis-Albert Bourgault-Ducoudray, harmony with Émile Durand,[7] piano with Antoine François Marmontel, organ with César Franck, and solfège with Albert Lavignac, as well as other significant figures of the era. He also became a lifelong friend of fellow student and noted pianist Isidor Philipp. After Debussy's death, many pianists sought out Philipp for advice on playing his pieces.
From the start, though clearly talented, Debussy was argumentative and experimental. He challenged the rigid teaching of the Academy, favoring instead dissonances and intervals that were frowned upon. Like Georges Bizet, he was a brilliant pianist and an outstanding sight reader, who could have had a professional career as such had he so wished.[8] The pieces he played in public at this time included sonata movements by Beethoven, Schumann and Weber; and Chopin—the Ballade No. 2, a movement from the Piano Concerto No. 1, and the Allegro de concert, a relatively little-known piece but one requiring an advanced technique (it was originally intended to be the opening movement of a third piano concerto).[9]
During the summers of 1880, 1881, and 1882 Debussy accompanied the wealthy patroness of Pyotr Ilyich Tchaikovsky, Nadezhda von Meck, as she traveled with her family in Europe and Russia. The young composer's many musical activities during these vacations included playing four-hand pieces with von Meck at the piano, giving music lessons to her children, and performing in private concerts with some of her musician friends.[10] Despite von Meck's closeness with Tchaikovsky, the Russian master appears to have had minimal effect on Debussy. In September 1880 she sent Debussy's Danse bohémienne for Tchaikovsky's perusal. A month later Tchaikovsky wrote back to her, "It is a very pretty piece, but it is much too short. Not a single idea is expressed fully, the form is terribly shriveled, and it lacks unity." Debussy did not publish the piece; the manuscript remained in the von Meck family, and it was sold to B. Schott's Sohne in Mainz, and published by them in 1932.[11] A greater influence was Debussy's close friendship with Madame Vasnier, a singer he met when he began working as an accompanist to earn some money. She and her husband gave Debussy emotional and professional support. Monsieur Vasnier introduced him to the writings of influential French writers of the time, which gave rise to his first songs, settings of poems by Paul Verlaine, the son-in-law of his former teacher, Mme. Mauté de Fleurville.
As the winner of the 1884 Prix de Rome with his composition L'enfant prodigue, Debussy received a scholarship to the Académie des Beaux-Arts, which included a four-year residence at the Villa Medici, the French Academy in Rome, to further his studies (1885–1887). According to letters to Madame Vasnier, perhaps in part designed to gain her sympathy, he found the artistic atmosphere stifling, the company boorish, the food bad, and the monastic quarters "abominable".[12] Neither did he delight in the pleasures of the "Eternal City", finding the Italian opera of Donizetti and Verdi not to his taste. Debussy was often depressed and unable to compose, but he was inspired by Franz Liszt, whose command of the keyboard he found admirable.
In June 1885, Debussy wrote of his desire to follow his own way, saying, "I am sure the Institute would not approve, for, naturally it regards the path which it ordains as the only right one. But there is no help for it! I am too enamoured of my freedom, too fond of my own ideas!"[13]
Debussy finally composed four pieces that were sent to the Academy: the symphonic ode Zuleima, based on a text by Heinrich Heine; the orchestral piece Printemps; the cantata La damoiselle élue (1887–1888), which was criticized by the Academy as "bizarre"; and the Fantaisie for piano and orchestra. The third piece was the first in which stylistic features of Debussy's later style emerged. The fourth piece was heavily based on César Franck's music and Debussy withdrew it. The Academy chided him for "courting the unusual" and hoped for something better from the gifted student. Even though Debussy's works showed the influence of Jules Massenet, Massenet concluded, "He is an enigma."[14]
During his visits to Bayreuth in 1888-9, Debussy was exposed to Wagnerian opera, which had a lasting impact on his work. Richard Wagner had died in 1883 and the cult of Wagnerism was still in full swing. Debussy, like many young musicians of the time, responded positively to Wagner's sensuousness, mastery of form, and striking harmonies.[15] Wagner's extroverted emotionalism was not to be Debussy's way, but the German composer's influence is evident in La damoiselle élue and the 1889 piece Cinq poèmes de Charles Baudelaire. Other songs of the period, notably the settings of Verlaine —Ariettes oubliées, Trois mélodies, and Fêtes galantes— are all in a more capricious style. Around this time, Debussy met Erik Satie, who proved a kindred spirit in his experimental approach to composition and to naming his pieces. During this period, both musicians were bohemians enjoying the same cafe society and struggling to stay afloat financially.[16]
In 1889, at the Exposition Universelle in Paris, Debussy heard Javanese gamelan music. Although direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been identified in any of Debussy's compositions, the equal-tempered pentatonic scale appears in his music of this time and afterward.[17]
Private life[link]
Debussy's private life was often turbulent. At the age of 18 he began an eight-year affair with Blanche Vasnier, wife of a Parisian lawyer. The relationship eventually faltered following his winning of the Prix de Rome and obligatory residence in Rome.
On his permanent return to Paris and his parents' home on the avenue de Berlin in 1889, he began a tempestuous nine-year relationship with Gabrielle ('Gaby') Dupont, a tailor's daughter from Lisieux, with whom he later cohabited on the Rue Gustave Doré. During this time he also had an affair with the singer Thérèse Roger, to whom he was briefly engaged.
He left Dupont for her friend Rosalie ('Lilly') Texier, a fashion model whom he married in 1899. However, although Texier was affectionate, practical, straightforward, and well liked by Debussy's friends and associates, he became increasingly irritated by her intellectual limitations and lack of musical sensitivity. In 1904, Debussy was introduced to Emma, wife of Parisian banker Sigismond Bardac, by her son Raoul, one of his students.[18] In contrast to Texier, Bardac was a sophisticate, a brilliant conversationalist, and an accomplished singer. After despatching Lilly to visit her father in Bichain on 15 July 1904, Debussy secretly took Bardac to Jersey for a holiday. On their return to France, Debussy wrote to Texier from Dieppe on 11 August, informing her their marriage was over, but still making no mention of Bardac. On 14 October, five days before their fifth wedding anniversary, Texier attempted suicide, shooting herself in the chest while standing in the Place de la Concorde; she survived, although the bullet remained lodged in her vertebrae for the rest of her life. The ensuing scandal was to alienate Debussy from many of his friends, whilst Bardac was disowned by her family.[19]
In the spring of 1905, finding the hostility towards them intolerable, Debussy and Bardac (now pregnant) fled to England, via Jersey,[20] settling at the Grand Hotel in Eastbourne from 24 July to 30 August 1905,[21] where Debussy was to correct proofs to his symphonic suite La mer,[3][19] and celebrate his divorce from Texier on 2 August. After a brief visit to London, the couple returned to Paris in September, setting up home on the Avenue du Bois de Boulogne (now Avenue Foch), where Debussy was to reside for the rest of his life.[22] Their daughter (the composer's only child) Claude-Emma was born there on 30 October.[19] More affectionately known as 'Chouchou', Claude-Emma was the dedicatee of Debussy's Children's Corner suite; she outlived her father by scarcely a year, succumbing to the diphtheria epidemic of 1919. Her parents were eventually married in 1908, their troubled union enduring until Debussy's death in 1918.
Death[link]
Debussy died of rectal cancer in Paris on 25 March 1918.[23] He had been diagnosed with the cancer in 1909[19] after experiencing haemorrhaging, and in 1916 underwent one of the first colostomy operations ever performed. The operation achieved only a temporary respite, and occasioned him considerable frustration (he was to liken dressing in the morning to "all the labours of Hercules in one"). His death occurred in the midst of the aerial and artillery bombardment of Paris during the German Spring Offensive of World War I. The funeral procession made its way through deserted streets to Père Lachaise Cemetery as the German guns bombarded the city. The military situation in France was critical, and did not permit the honour of a public funeral with ceremonious graveside orations. Debussy's body was reinterred shortly afterwards in the small Passy Cemetery sequestered behind the Trocadéro; his wife and daughter are buried with him.
Musical style[link]
File:Debussy's chords for Guiraud.png
Chords, featuring chromatically altered sevenths and ninths and progressing unconventionally, explored by Debussy in a, "celebrated conversation at the piano with his teacher Ernest Guiraud".[24]
Rudolph Reti points out these features of Debussy's music, which "established a new concept of tonality in European music":
- Glittering passages and webs of figurations which distract from occasional absence of tonality;
- Frequent use of parallel chords which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons"; some writers describe these as non-functional harmonies;
- Bitonality, or at least bitonal chords;
- Use of the whole-tone and pentatonic scale;
- Unprepared modulations, "without any harmonic bridge."
He concludes that Debussy's achievement was the synthesis of monophonic based "melodic tonality" with harmonies, albeit different from those of "harmonic tonality".[25][page needed]
The application of the term "impressionist" to Debussy and the music he influenced is a matter of intense debate within academic circles. One side argues that the term is a misnomer, an inappropriate label which Debussy himself opposed. In a letter of 1908, he wrote "I am trying to do 'something different'—an effect of reality...what the imbeciles call 'impressionism', a term which is as poorly used as possible, particularly by the critics, since they do not hesitate to apply it to Turner, the finest creator of mysterious effects in all the world of art."[26] The opposing side argues that Debussy may have been reacting to unfavorable criticism at the time, and the negativity that critics associated with impressionism. It can be argued that he would have been pleased with application of the current definition of impressionism to his music.
List of works[link]
- List of compositions by Claude Debussy by category.
- List of compositions by Claude Debussy by Lesure Numbers
Early works[link]
Beginning in the 1890s, Debussy developed his own musical language largely independent of Wagner's style, colored in part from the dreamy, sometimes morbid romanticism of the Symbolist Movement. Debussy became a frequent participant at Stéphane Mallarmé's Symbolist gatherings, where Wagnerism dominated the discussion. In contrast to the enormous works of Wagner and other late-romantic composers, however, around this time Debussy chose to write in smaller, more accessible forms. The Deux Arabesques is an example of one of Debussy's earliest works, already developing his musical language. Suite bergamasque (1890) recalls rococo decorousness with a modern cynicism and puzzlement. This suite contains one of Debussy's most popular pieces, Clair de Lune. Debussy's String Quartet in G minor (1893) paved the way for his later, more daring harmonic exploration. In this work he utilized the Phrygian mode as well as less standard scales, such as the whole-tone, which creates a sense of floating, ethereal harmony. Debussy was beginning to employ a single, continuous theme and break away from the traditional A-B-A form, with its restatements and amplifications, which had been a mainstay of classical music since Haydn.
Influenced by Mallarmé, Debussy wrote one of his most famous works, the revolutionary Prélude à l'après-midi d'un faune, truly original in form and execution. In contrast to the large orchestras so favoured by late-romanticism, Debussy wrote this piece for a smaller ensemble, emphasizing instrumental colour and timbre. Despite Mallarmé himself, and colleague and friend Paul Dukas having been impressed by the piece, it was controversial at its premiere. Prélude subsequently placed Debussy into the spotlight as one of the leading composers of the era.
Middle works[link]
The three Nocturnes (1899), include characteristic studies in veiled harmony and texture as demonstrated in Nuages; exuberance in Fêtes; and whole-tones in Sirènes. Contrasting sharply with Wagnerian opera, Debussy's Pelléas et Mélisande premiered in 1902, after ten years of work. It would be his only complete opera. Based on the play by Maurice Maeterlinck, the opera proved to be an immediate success and immensely influential to younger French composers, including Maurice Ravel. These works brought a fluidity of rhythm and colour quite new to Western music.
La mer (1903–1905) essays a more symphonic form, with a finale that works themes from the first movement, although the middle movement, Jeux de vagues, proceeds much less directly and with more variety of colour. Again, the reviews were sharply divided. Some critics thought the treatment to be less subtle and less mysterious than his previous works and even a step backward. Pierre Lalo complained "I neither hear, nor see, nor feel the sea". Others extolled its "power and charm", its "extraordinary verve and brilliant fantasy", and its strong colors and definite lines.[27]
During this period Debussy wrote much for the piano. The set of pieces entitled Pour le piano (1901) utilises rich harmonies and textures which would later prove important in jazz music. His first volume of Images pour piano (1904–1905) combine harmonic innovation with poetic suggestion: Reflets dans l'eau is a musical description of rippling water; Hommage à Rameau, the second piece, is slow and yearningly nostalgic. It takes as its inspiration a melody from Jean-Philippe Rameau's Castor et Pollux.
The evocative Estampes for piano (1903) give impressions of exotic locations. Debussy came into contact with Javanese gamelan music during the 1889 Paris Exposition Universelle. Pagodes is the directly inspired result, aiming for an evocation of the pentatonic structures employed by the Javanese music.[28] Debussy wrote his famous Children's Corner Suite (1908) for his beloved daughter, Claude-Emma, whom he nicknamed Chouchou. The suite recalls classicism—the opening piece Doctor Gradus ad Parnassum refers to Muzio Clementi's collection of instructional piano compositions Gradus ad Parnassum, as well as a new wave of American ragtime music. In the popular final piece of the suite, Golliwogg's Cakewalk, Debussy also pokes fun at Richard Wagner by mimicking the opening bars of Wagner's prelude to Tristan und Isolde.
The first book of Préludes (1910), twelve in total, proved to be his most successful work for piano. The Preludes are frequently compared to those of Chopin. Debussy's preludes are replete with rich, unusual and daring harmonies. They include the popular La Fille aux Cheveux de Lin (The Girl with the Flaxen Hair) and La Cathédrale Engloutie (The Engulfed Cathedral). Debussy wanted people to respond intuitively to these pieces and so he placed the titles at the end of each one in the hope that listeners would not make stereotype images as they listened.
Larger scaled works included his orchestral piece Iberia (1907), began as a work for two pianos, a triptych medley of Spanish allusions and fleeting impressions and also the music for Gabriele d'Annunzio's mystery play Le martyre de Saint Sébastien (1911). A lush and dramatic work, written in only two months, it is remarkable in sustaining a late antique modal atmosphere that otherwise was touched only in relatively short piano pieces.
During this period, as Debussy gained more popularity, he was engaged as a conductor throughout Europe, most often performing Pelléas, La Mer, and Prélude à l'après-midi d'un faune. He was also an occasional music critic to supplement his conducting fees and piano lessons. Debussy avoided analytical dissection and attempts to force images from music, "Let us at all costs preserve this magic peculiar to music, since of all the arts it is most susceptible to magic." He could be caustic and witty, sometimes sloppy and ill-informed. Debussy was for the most part enthusiastic about Richard Strauss and Stravinsky, worshipful of Chopin, Bach and Mozart, and found both Liszt and Beethoven geniuses who sometimes lacked "taste". He also admired the works of Charles-Valentin Alkan.[29] Schubert and Mendelssohn fared much worse, the latter being described as a "facile and elegant notary".[30]
Late works[link]
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Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies. The forms are far more irregular and fragmented. These chords that seemingly had no resolution were described by Debussy himself as "floating chords", and were used to set tone and mood in many of his works. The whole tone scale dominates much of Debussy's late music.
His two last volumes of works for the piano, the Études (1915) interprets similar varieties of style and texture purely as pianistic exercises and includes pieces that develop irregular form to an extreme as well as others influenced by the young Igor Stravinsky (a presence too in the suite En blanc et noir for two pianos, 1915). The rarefaction of these works is a feature of the last set of songs, the Trois poèmes de Mallarmé (1913), and of the Sonata for flute, viola and harp (1915), though the sonata and its companions also recapture the inquisitive Verlainian classicism.
With the sonatas of 1915–1917, there is a sudden shift in the style. These works recall Debussy's earlier music, in part, but also look forward, with leaner, simpler structures. Despite the thinner textures of the Violin Sonata (1917) there remains an undeniable richness in the chords themselves. This shift parallels the movement commonly known as neo-classicism which became popular after Debussy's death. Debussy planned a set of six sonatas, but this plan was cut short by his death in 1918 so that he only completed three (cello, flute-viola-harp and violin sonatas).
The last orchestral work by Debussy, the ballet Jeux (1912) written for Sergei Diaghilev's Ballets Russes, contains some of his strangest harmonies and textures in a form that moves freely over its own field of motivic connection. At first Jeux was overshadowed by Igor Stravinsky's The Rite of Spring, composed in the same year as Jeux and premiered only two weeks later by the same ballet company. Decades later, composers such as Pierre Boulez and Jean Barraqué pointed out parallels to Anton Webern's serialism in this work. Other late stage works, including the ballets Khamma (1912) and La boîte à joujoux (1913) were left with the orchestration incomplete, and were later completed by Charles Koechlin and André Caplet, who also helped Debussy with the orchestration of Gigues (from Images pour orchestre) and Le martyre de St. Sébastien.[31]
The second set of Préludes for piano (1913) features Debussy at his most avant-garde, where he utilizes dissonant harmonies to evoke specific moods and images. Debussy consciously gives titles to each prelude that amplify the preludes’ tonal ambiguity and dissonance. He utilizes scales such as the whole tone scale, musical modes, and the octatonic scale in his preludes that exaggerate this tonal ambiguity, making the key of each prelude almost indistinguishable at times. The second book of Preludes for piano represents Debussy’s strong interest in the indefinite and esoteric.
Although Pelléas was Debussy's only completed opera, he began several opera projects which remained unfinished, his fading concentration, increasing procrastination, and failing health perhaps the reasons. He had finished some partial musical sketches and some unpublished libretti for operas based on Poe's The Devil in the Belfry (Le diable dans le beffroi, 1902–?1912) and The Fall of the House of Usher (La chute de la maison Usher, 1908–1917) as well as considered projects for operas based on Shakespeare's As You Like It and Joseph Bedier's La Legende de Tristan.
Further plans, such as an American tour, more ballet scores, and revisions of Chopin and Bach works for re-publication, were all cut short by the outbreak of World War I and his poor health.
Mathematical structuring[link]
Given that Debussy's music is apparently so concerned with mood and colour, one may be surprised to discover that, according to Howat, many of his greatest works appear to have been structured around mathematical models even while using an apparent classical structure such as sonata form. Howat suggests that some of Debussy's pieces can be divided into sections that reflect the golden ratio, frequently by using the numbers of the standard Fibonacci sequence.[32] Sometimes these divisions seem to follow the standard divisions of the overall structure. In other pieces they appear to mark out other significant features of the music. The 55 bar-long introduction to 'Dialogue du vent et la mer' in La mer, for example, breaks down into 5 sections of 21, 8, 8, 5 and 13 bars in length. The golden mean point of bar 34 in this structure is signalled by the introduction of the trombones, with the use of the main motif from all three movements used in the central section around that point.[32][page needed]
The only evidence that Howat introduces to support his claim appears in changes Debussy made between finished manuscripts and the printed edition, with the changes invariably creating a Golden Mean proportion where previously none existed. Perhaps the starkest example of this comes with La cathédrale engloutie. Published editions lack the instruction to play bars 7–12 and 22–83 at twice the speed of the remainder, exactly as Debussy himself did on a piano-roll recording. When analysed with this alteration, the piece follows Golden Section proportions. At the same time, Howat admits that in many of Debussy's works, he has been unable to find evidence of the Golden Section (notably in the late works) and that no extant manuscripts or sketches contain any evidence of calculations related to it.
Influences[link]
Debussy had a wide range of influences. Among the Russian composers of his time, the most prominent influences on Debussy were Tchaikovsky, Balakirev, Rimsky-Korsakov, Borodin and Mussorgsky.[15][33] It can be inferred that from the Russians “Debussy acquired his taste for ancient and oriental modes and for vivid colorations, and a certain disdain for academic rules.”[15] Specifically, Mussorgsky’s opera Boris Godunov directly influenced one of Debussy’s most famous works, Pelléas et Mélisande. In addition to the Russian composers, one of Debussy’s biggest influences was Richard Wagner. According to Pierre Louys, Debussy “did not see ‘what anyone can do beyond Tristan.”[15] After Debussy’s Wagner phase, he started to become immensely interested in non-Western music. He was drawn to unorthodox approaches to composition that non-Western music utilized. Specifically, he was drawn to a Javanese Gamelan, which was a musical ensemble from the island of Java that played an array of unique instrumentation including gongs and metallophones. He first heard the gamelan at the 1889 Paris Exposition. Debussy was not as interested in directly citing his non-Western influence in his music, but instead used his non-Western influence to shape his unique musical style in more of a general way.
Debussy was just as influenced by other art forms as he was by music, if not more so. He took a strong interest in literature and visual art and used these mediums to help shape his unique musical style. Debussy was heavily influenced by the French symbolist movement, which was an art movement in 1885 that influenced art forms such as poetry, visual art, and theatre. He shared the movement’s interest in the esoteric and indefinite and rejection of naturalism and realism. Specifically, “the development of free verse in poetry and the disappearance of the subject or model in painting influenced Debussy to think about issues of musical form.”[15] Debussy became personally acquainted with writers and painters of the movement and based his own works off of those of the symbolists. One of Debussy’s main influences was the famous poet Stéphane Mallarmé, who “held the idea of a ‘musicalization’ of poetry.”[15] In other words, Mallarmé drew strong connections between music and his poetry. Debussy wrote "Prélude à l'après-midi d'un faune", which was directly influenced by Mallarmé’s poem “Afternoon of a Faun.” Like the symbolists in respect to their own art forms, Debussy aimed to reject common techniques and approaches to composition and attempted to evoke more of a sensorial experience for the listener with his works. Since his time at the Paris Conservatoire, Debussy believed he had much more to learn from artists than from musicians who were primarily interested in their musical careers.
Contemporary painter James McNeill Whistler who lived in France for a period of time had a profound influence on Debussy. In 1894, Debussy wrote to violinist Eugène Ysaÿe describing his Nocturnes as "an experiment in the different combinations that can be obtained from one color—what a study in grey would be in painting."[34] Although it is not known what it is meant by this statement, one can observe in his music a careful use of orchestral, textural, and harmonic 'shading'.
Influence on later composers[link]
Claude Debussy is widely regarded as one of the most influential composers of the 20th century. His harmonies, considered radical in his day, were influential to almost every major composer of the 20th century, especially the music of Maurice Ravel, Igor Stravinsky, Olivier Messiaen, Béla Bartók, Pierre Boulez, Henri Dutilleux, Ned Rorem, and the minimalist music of Steve Reich and Philip Glass as well as the influential Japanese composer Toru Takemitsu. He also influenced many important figures in Jazz, most notably George Gershwin, Bill Evans, George Shearing, Thelonious Monk, Duke Ellington, Antônio Carlos Jobim, Herbie Hancock and Jimmy Giuffre. Furthermore, he had a profound impact on contemporary soundtrack composers such as John Williams because Debussy's colorful and evocative style translated easily into an emotional language for use in motion picture scores. In 1999, The Art of Noise released a concept album titled The Seduction of Claude Debussy. The group blended the music of Debussy with drum and bass, opera, hip hop, jazz, and narration, and described the album as "the soundtrack to a film that wasn't made about the life of Claude Debussy". In 2000, the band released Reduction, a limited-edition album composed mainly of outtakes from this album.
Leopold Stokowski, in an article, pointed out the identification of composers including Debussy with the music of Giovanni Pierluigi da Palestrina, providing an inspiration for non-contrapuntal music.
Media[link]
Eponyms[link]
Claude Debussy's name has, posthumously, been given to a number of discoveries. These include:
- Debussy Heights, a heights at Ravel Peak which was discovered in 1960;
- Debussy, an impact crater on Mercury which was discovered in 1969;
- 4492 Debussy, a main belt asteroid that was discovered in 1988.
Recordings[link]
Debussy participated in a handful of recordings, made in 1904, with soprano Mary Garden. He also made some piano rolls for Welte Mignon in 1913.[35]
References[link]
- ^ Claude Debussy – pronuncation at Forvo.com
- ^ Politoske, Daniel T.; Martin Werner (1988). Music, Fourth Edition. Prentice Hall. p. 419. ISBN 0-13-607616-5.
- ^ a b "Claude Debussy — Biographie : 1903–1909 – Centre de documentation Claude Debussy". Debussy.fr. http://www.debussy.fr/cdfr/bio/bio5_03-09.php. Retrieved 10 March 2010.
- ^ Hartmann, Arthur; Hsu, Samuel; Grolnic, Sidney; Peters, Mark A. (2003). "Claude Debussy as I Knew Him" and Other Writings of Arthur Hartmann. Boydell & Brewer. ISBN 1-58046-104-2. http://books.google.com/books?id=fp5pM0oiUucC.
- ^ Leon Vallas (March 2007). Claude Debussy: His Life and Works. Lightning Source Inc. pp. 4–. ISBN 978-1-4067-5912-9. http://books.google.com/books?id=shLCyqsb4qoC&pg=PA4. Retrieved 27 April 2011.
- ^ David Mason Greene (2007). Greene's biographical encyclopedia of composers. Reproducing Piano Roll Fnd.. pp. 904–. ISBN 978-0-385-14278-6. http://books.google.com/books?id=m3S7PIxe0mwC&pg=PA904. Retrieved 27 April 2011.
- ^ Centre de documentation Claude Debussy
- ^ Harold C. Schonberg, The Great Pianists, p. 343
- ^ "Concerts where Debussy appeared as a pianist". Djupdal.org. http://www.djupdal.org/karstein/debussy/concerts.shtml. Retrieved 10 March 2010.
- ^ Edward Lockspeiser, Debussy: His Life and Mind, vol. 1, The Macmillan Company, 1962, pp 40–47.
- ^ Alexander Poznansky, Tchaikovsky: The Quest for the Inner Man, p. 375
- ^ Thompson, p. 70
- ^ Thompson, p. 77
- ^ Thompson, p. 82
- ^ a b c d e f François Lesure and Roy Howat. "Debussy, Claude." Grove Music Online. Oxford Music Online. 14 December 2009. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/07353>.
- ^ Moore, Stephen (1999). Satie the Bohemian: From Cabaret to Concert Hall. Oxford University Press. p. 172.
- ^ Neil Sorrell. A Guide to the Gamelan. London: Faber and Faber, 2000. Pages 2–7.
- ^ Leon Vallas (March 2007). Claude Debussy: His Life and Works. Lightning Source Inc. pp. 169–. ISBN 978-1-4067-5912-9. http://books.google.com/books?id=shLCyqsb4qoC&pg=PA169. Retrieved 27 April 2011.
- ^ a b c d Diane Enget Moore (2005). Debussy in Jersey. The Centenary, 1904–2004 [1].
- ^ Claude Achille Debussy http://www.rodoni.ch/opernhaus/pelleas/Debussy2.pdf
- ^ Eastbourne Local Historian (Eastbourne Local History Society) Nr 157 (Autumn 2010).
- ^ Claude Debussy's residence
- ^ Debussy, Claude Achille The Columbia Electronic Encyclopedia, 6th ed. Columbia University Press. Accessed 12 July 2010.
- ^ Edward Lockspeiser (1962). Debussy: His Life and Mind, p. 207. ISBN 0-304-91878-4 for Vol. 1. cited in Roland Nadeau (1979), "Debussy and the Crisis of Tonality", p. 71, Music Educators Journal, Vol. 66, No. 1 (September), pp. 69–73.
- ^ Rudolph Reti, Tonality, Atonality, Pantonality, Westport, CT: Greenwood Press. ISBN 0-313-20478-0.
- ^ Thompson, p. 161
- ^ Thompson, pp. 158–59
- ^ Brent Hugh. "Claude Debussy and the Javanese Gamelan". brenthugh.com. http://brenthugh.com/debnotes/gamelan.html. Retrieved 27 January 2007.
- ^ "The Myths of Alkan". Jack Gibbons. http://www.jackgibbons.com/alkanmyths.htm. Retrieved 10 March 2010.
- ^ Thompson, pp. 180–85
- ^ Barraqué, Jean (1977). Debussy (Solfèges). Paris: Editions du Seuil. ISBN 2-02-000242-6.
- ^ a b Howat, Roy (1983). Debussy in Proportion: A musical analysis. Cambridge University Press. ISBN 0-521-31145-4.
- ^ Poleshook, Oksana. 2011 Russian Musical Influences of The Five on piano and vocal works of Claude Debussy LAP Lambert Publishing. ISBN 978-3-8443-1643-8
- ^ Weintraub, Stanley. 2001. Whistler: a biography (New York: Da Capo Press). ISBN 978-0-306-80971-2. p, 351
- ^ "Steve's Debussy Page". Homepage.mac.com. 1 November 1913. http://homepage.mac.com/stevepur/music/debussy_plays.html. Retrieved 10 March 2010.
Sources[link]
- Thompson, Oscar, Debussy: Man and Artist, Tudor Publishing Company, 1940.
Further reading[link]
- Fulcher, Jane (ed.) (2001). Debussy and His World (The Bard Music Festival). Princeton: Princeton University Press. ISBN 0-691-09042-4.
- Lücke, Hendrik (2005): Mallarmé, Debussy: Eine vergleichende Studie zur Kunstanschauung am Beispiel von „L'Après-midi d'un Faune“. Schriftenreihe Studien zur Musikwissenschaft 4. Hamburg: Dr. Kovac. ISBN 3-8300-1685-9.
- Nichols, R. (1998) The Life of Debussy (Cambridge, 1998).[Full citation needed]
- Parks, R. S. (1989). The Music of Claude Debussy (New Haven).[Full citation needed]
- Poleshook, Oksana (2011). Russian Musical Influences of The Five on piano and vocal works of Claude Debussy. LAP Lambert Publishing. ISBN 978-3-8443-1643-8.
- Roberts, Paul (ed.) (2001). Images: The Piano Music of Claude Debussy. Amadeus Press. ISBN 1-57467-068-9.
- Roberts, Paul (ed.) (2007). Claude Debussy (20th Century Composers). Phaidon Press Ltd. ISBN 0-7148-3512-9.
- Ross, James. 1998. "Pelléas et Mélisande: The 'Nouveau Prophete'? Crisis and Transformation: French Opera, Politics and the Press" D.Phil. Thesis, Oxford University. pp. 164–208.
- Smith, R. L. (ed.) (1997). Debussy Studies (Cambridge).[Full citation needed]
- Trezise, Simon (ed.) (2003). The Cambridge Companion to Debussy. Cambridge University Press. ISBN 0-521-65478-5.
External links[link]
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Wikimedia Commons has media related to: Claude Debussy |
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Wikiquote has a collection of quotations related to: Claude Debussy |
- Claude Debussy at Allmusic
- Claude Debussy discography at MusicBrainz
- Claude Debussy Catalogue chronologique (French)
- Documentary film about Claude Debussy
- Works by or about Claude Debussy in libraries (WorldCat catalog)
- Works by Claude Debussy on Open Library at the Internet Archive
Music scores[link]
- Public domain scores Debussy's Scores + Audio
- Free scores by Claude Debussy at the International Music Score Library Project
- Free scores by Claude Debussy in the Werner Icking Music Archive (WIMA)
- Free scores by Claude Debussy in the Choral Public Domain Library (ChoralWiki)
- www.kreusch-sheet-music.net Free Scores by Debussy
| Persondata | |
|---|---|
| Name | Debussy, Claude |
| Alternative names | |
| Short description | |
| Date of birth | 1862-08-22 |
| Place of birth | St Germain en Laye |
| Date of death | 1918-03-25 |
| Place of death | Paris |
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David Fyodorovich Oistrakh (or Oistrach), Russian: Дави́д Фёдорович (Фи́шелевич) О́йстрах, David Fiodorović (Fišelević) Ojstrakh, Russian pronunciation: [dɐˌvʲid fʲodəˌrovʲɪʨ ˈojstrɐx], Ukrainian: Дави́д Фе́дорович (Фі́шелевич) О́йстрах, Davyd Fedorovych (Fishelevych) Oistrakh; September 30 [O.S. September 17] 1908 – October 24, 1974, was a renowned Soviet classical violinist.
Oistrakh collaborated with major orchestras and musicians from many parts of the world, including the Soviet Union, Europe, and the United States, and was the dedicatee of numerous violin works, including both of Dmitri Shostakovich's violin concerti, and the violin concerto by Aram Khachaturian. He is considered one of the preeminent violinists of the 20th century.
Contents |
Early years[link]
He was born in the cosmopolitan city of Odessa in the Russian Empire (now Ukraine) into a Jewish family of merchants of the second guild. His father was David Kolker and his mother was Isabella Beyle (née Stepanovsky), who later on married Fishl Oistrakh.[1] At the age of five, young Oistrakh began his studies of violin and viola as a pupil of Pyotr Stolyarsky. In his studies with Pyotr Stolyarsky he made very good friends with Daniel Shindarov, with whom he performed numerous times around the world, even after becoming famous, for students at Stolyarsky School of Music. He would eventually come to predominantly perform on violin.
In 1914, at the age of six, Oistrakh performed his debut concert. He entered the Odessa Conservatory in 1923, where he studied until his graduation in 1926. In the Conservatory he also studied harmony with composer Mykola Vilinsky. His 1926 graduation concert consisted of Bach's Chaconne, Tartini's Devil's Trill Sonata, Rubinstein's Viola Sonata, and Prokofiev's Violin Concerto No. 1 in D major. In 1927, Oistrakh appeared as soloist playing the Glazunov Violin Concerto under the composer's own baton in Kiev, Ukraine—a concert which earned him an invitation to play the Tchaikovsky Violin Concerto in Leningrad with the Philharmonic Orchestra under Nikolai Malko the following year.
In Moscow[link]
In 1927, Oistrakh relocated to Moscow, where he gave his first recital and met his future wife: pianist Tamara Rotareva. They were married a year later, and had one child, Igor Oistrakh, who was born in 1931. Igor Oistrakh would follow his father's path as a violinist, and eventually performed and recorded side-by-side with his father, including Bach Double Concerto, which they first recorded in 1951, and Mozart's Sinfonia Concertante. In at least one of the recordings of Mozart's Sinfonia Concertante, Igor Oistrakh played violin, while David Oistrakh played viola.
From 1934 onwards, David Oistrakh held a position teaching at the Moscow Conservatory, and was later made professor in 1939. Some of his colleagues while teaching at the Moscow Conservatory included Yuri Yankelevich and Boris Goldstein. Oistrakh taught Oleg Kagan, Gidon Kremer, Zoya Petrosyan, Victor Danchenko, Cyrus Forough, and his son Igor Oistrakh.
From 1940 to 1963, Oistrakh performed extensively in a trio that also included the cellist Sviatoslav Knushevitsky and the pianist Lev Oborin. It was sometimes called the 'Oistrakh Trio.' Oistrakh collaborated extensively with Oborin, as well as Jacques Thibaud, a French violinist.
During WWII[link]
During World War II, he was active in the Soviet Union, premiering new concerti by Nikolai Miaskovsky and Khachaturian as well as two sonatas by his friend Sergei Prokofiev. He was also awarded the Stalin Prize in 1942. The final years of the war saw the blossoming of a friendship with Shostakovich, which would lead to the two violin concertos and the sonata, all of which were to be premiered by and become firmly associated with Oistrakh in the following years. Oistrakh's career was set from this point, except for one small hitch - the Soviet Union was "protective" of its people and refused to let him leave. He continued to teach in the Moscow Conservatory, but when Nazi Germany invaded the Soviet Union, he went to the front lines, playing for soldiers and factory workers under intensely difficult conditions. Arguably one of the most heroic acts in his life was his performance of Tchaikovsky's violin concerto to the end in the central music hall during the Battle of Stalingrad in winter 1942 while central Stalingrad was being massively bombed by the German forces. However, other sources indicate that Oistrakh performed in Leningrad in the Winter of 1942.[2] Whether Oistrakh performed in Stalingrad is unconfirmed.
International travel[link]
Oistrakh was allowed to travel after the end of the war. He traveled to the countries in the Soviet bloc and even to the West. His first foreign engagement was to appear at the newly founded "Prague Spring" Festival where he met with enormous success. In 1949 he gave his first concert in the West - in Helsinki. In 1951, he appeared at the "Maggio Musicale" Festival in Florence, in 1952 he was in East Germany for the Beethoven celebrations, France in 1953, Britain in 1954, and eventually, in 1955, he was allowed to tour the United States. By 1959, he was beginning to establish a second career as a conductor, and in 1960 he was awarded the coveted Lenin Prize. His Moscow conducting debut followed in 1962, and by 1967 he had established a partnership with the celebrated Soviet pianist Sviatoslav Richter.
Later years[link]
1968 saw wide celebrations for the violinist's sixtieth birthday, which included a celebratory performance in the Great Hall of Moscow Conservatory of the Tchaikovsky concerto, one of his favourite works, under the baton of Gennady Rozhdestvensky. Oistrakh was now seen as one of the great violinists of his time, among such luminaries as Romania's George Enescu and Lithuanian born Jascha Heifetz.
Oistrakh suffered a heart attack as early as 1964. He survived and continued to work at a furious pace. He had already become one of the principal cultural ambassadors for the Soviet Union to the West in live concerts and recordings. After conducting a cycle of Brahms with the Concertgebouw Orchestra, he died of another heart attack in Amsterdam in 1974. His remains were returned to Moscow where he was interred in Novodevichy Cemetery.
Distinctions[link]
Oistrakh received many awards and distinctions. Within the Soviet Union, David Oistrakh was awarded the Stalin Prize in 1943, the title of People's Artist of the USSR in 1953, and the Lenin Prize in 1960. He also won the 1935 Soviet Union Competition. Several reputable works from the standard violin repertoire are dedicated to Oistrakh, including a concerto by Khachaturian, two concerti by Shostakovich, and several other pieces.
Oistrakh's fame and success were not only limited to the Soviet Union: he placed second at the Henryk Wieniawski Violin Competition in Warsaw during the same year, only being bested by 16-year-old prodigy Ginette Neveu, and further improved upon that by winning the grand prize in the Queen Elisabeth Competition in Brussels.
Additionally, the asteroid 42516 Oistrach is named in honour of him and his son, the violinist Igor Oistrakh.
Instruments[link]
David Oistrakh is known to have played on at least seven Stradivarius violins owned by the Soviet Union. He initially selected the 1702 Conte di Fontana Stradivarius which he played for 10 years, before exchanging it for the 1705 Marsick Stradivarius in June 1966, which he played on until his death.
David Oistrakh used bows by Albert Nürnberger and Andre Richaume throughout his life. Up until 1957, he used the Nürnberger bow. "The Andre Richaume bow bought by his son Igor Oistrakh in 1957, had filled David with such enthusiasm that Igor made a gift of it."[3] Oistrakh had remarked that this (Richaume) bow gave him great satisfaction, so much so that when in Paris, he had to meet Richaume in person.[3]
Honours and awards[link]
- This article incorporates information from the Russian Wikipedia.
- Soviet
- Two Orders of Lenin - 1946 and 1966
- Order of the Badge of Honour, twice - 1937 and ?
- People's Artist of the USSR, 1953
- Stalin Prize, 1st class - 1943
- Lenin Prize - 1960
- Honoured Artist of the RSFSR
- Foreign
- Grand Cross of the Order of the Lion of Finland (1966)
- Grand Officer of the Order of Leopold II (Belgium, 1967)
See also[link]
References[link]
- ^ http://naftali.livejournal.com/50235.html
- ^ Yakov Soroker, "David Oistrakh" p.139. Lexicon Publishing, Jerusalem, 1982.
- ^ a b Raffin, Jean Francois; Millant, Bernard (2000). L'Archet. Paris: L'Archet Éditions. ISBN 2-9515569-0-X.
Further reading[link]
- Yuzefovitch, V. (1977). David Oistrakh: Conversations with Igor Oistrakh.
- Roth, Henry. Violin Virtuosos: From Paganini to the 21st Century. ISBN 1-879395-15-0.
- Applebaum, Sam. The Way They Play. 4.
External links[link]
| Persondata | |
|---|---|
| Name | Oistrakh, David |
| Alternative names | |
| Short description | |
| Date of birth | 1908 |
| Place of birth | |
| Date of death | October 24, 1974 |
| Place of death | |
http://wn.com/David_Oistrakh
Related pages:
http://it.wn.com/David Fëdorovič Ojstrach
http://cs.wn.com/David Oistrach
http://es.wn.com/David Óistraj
http://ru.wn.com/Ойстрах, Давид Фёдорович
http://nl.wn.com/David Oistrach
http://pt.wn.com/David Oistrakh
http://pl.wn.com/Dawid Ojstrach
http://fr.wn.com/David Oïstrakh
http://de.wn.com/Dawid Fjodorowitsch Oistrach
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/David_Oistrakh
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Dawn Upshaw (born July 17, 1960) is an American soprano described as "one of the most consequential performers of our time" by the Los Angeles Times.[citation needed] The recipient of several Grammy Awards and Edison Prize-winning discs, Upshaw is at home both in opera and art song, and in repertoire from Baroque to contemporary. Many composers, including Osvaldo Golijov, John Harbison, Esa-Pekka Salonen, John Adams, and Kaija Saariaho, have written for her, and her artistic achievements are extensive. In 2007 she was awarded a MacArthur Fellowship.[1]
Contents |
Overview[link]
Upshaw was born in Nashville, Tennessee. She began her vocal career as a talented Rich East High School singer in Park Forest, Illinois and later attended Interlochen Arts Academy. Upshaw received a B.A. in 1982 from Illinois Wesleyan University, where she studied voice with the late Dr. David Nott. She went on to study voice with Ellen Faull at the Manhattan School of Music in New York, earning her M.M. in 1984. She also attended courses given by Jan DeGaetani at the Aspen (Colorado) Music School. She was a winner of the Young Concert Artists International Auditions (1984) and the Walter M. Naumburg Competition (1985), and was a member of the Metropolitan Opera Young Artists Development Program. Since her start in 1984, Upshaw has made more than 300 appearances at the Metropolitan Opera.
Upshaw came to international fame with her million-selling recording (1993), with David Zinman, of the hauntingly powerful Symphony No 3 by Henryk Górecki, known as the Symphony of Sorrowful Songs (Symfonia pieśni żałosnych).
In the past decade she has premiered more than 25 new works and has embraced several works created for her, including the Grawemeyer Award-winning opera L’Amour de Loin by Kaija Saariaho, The Great Gatsby by John Harbison, the nativity oratorio El Niño by John Adams, and Osvaldo Golijov's highly acclaimed chamber opera Ainadamar and song cycle Ayre. In 2009 she premiered David Bruce's song cycle The North Wind was a Woman at the gala opening of the Chamber Music Society of the Lincoln Centre's season.
Some feel that her rendition of Golijov's Ayre made her almost seem a charismatic rock-singer. It is a tribute to her vocal range, as well as her star-stature, that she has moved out of the traditional role of a classical singer. In addition to her operatic recordings, she has also sung the title role in the first complete recording of the score of Gershwin's Oh, Kay!.[2]
She has also recorded albums of songs by Vernon Duke and Rodgers and Hart.[3] Upshaw was a guest of President of the United States Bill Clinton and Mrs. Clinton on the NBC special, Christmas in Washington. The BBC presented a prime-time telecast of her 1996 London Proms Concert, "Dawn at Dusk", in which she performed songs from the American musical theater. Her engagements with James Levine over the years led to a 1997 recording of Debussy songs.
She tours regularly with piano accompanist Richard Goode. Margo Garrett and Gilbert Kalish are also long-standing partners. She has worked with the director Peter Sellars many times, including his staging of Händel's Theodora at Glyndebourne, his Paris production of Stravinsky's The Rake's Progress (as part of the Los Angeles Philharmonic and Esa-Pekka Salonen's month-long residency at the Théâtre du Châtelet) (1996), a staging of Bach's cantata BWV 199, presented in the 1995-96 season at New York's 92nd Street Y, and the Salzburg Festival production of Olivier Messiaen's Saint François d'Assise (1998). Ms. Upshaw has often performed as a soloist at the annual Ojai Music Festival in Ojai, CA; most recently in 2006, 2008 and 2009.
Dawn Upshaw joined the Saint Paul Chamber Orchestra as Artistic Partner beginning with the 2007-08 season, and she is Artistic Director of the Graduate Program in Vocal Arts at the Bard College Conservatory of Music, which accepted its first students in the 2006-2007 academic year. She also is a faculty member at the Tanglewood Music Center.
She holds honorary Doctor of Arts, honoris causa, from Yale University, the Manhattan School of Music, Illinois Wesleyan University and Allegheny College.
Upshaw is divorced and a mother of two. She lives near New York.
Upshaw was diagnosed with and treated for early-stage breast cancer in 2006.[4]
Awards and recognitions[link]
2007 MacArthur Fellow[1]
2006 Grammy Award for Best Opera Recording:
- The Atlanta Symphony and Chorus with Dawn Upshaw for Golijov: Ainadamar (Fountain of Tears)
2003 Grammy Award for Best Chamber Music Performance:
- The Kronos Quartet & Dawn Upshaw for Berg: Lyric Suite
1991 Grammy Award for Best Classical Vocal Soloist:
- Dawn Upshaw, artist for The Girl with Orange Lips (Falla, Ravel, etc.)
1989 Grammy Award for Best Classical Vocal Soloist:
- Dawn Upshaw, artist for Knoxville: Summer of 1915 (Music of Barber, Menotti, Harbison, Stravinsky)
Works (selection)[link]
- 1992: Symphony No. 3 (Henryk Górecki), Nonesuch/Elektra Records 79282
References[link]
- ^ a b MacArthur Foundation
- ^ Oh, Kay! restored by Tommy Krasker, starring Dawn Upshaw and Kurt Ollmann, Roxbury Recordings (Nonesuch 1995)
- ^ Dawn Upshaw sings Rodgers & Hart, recorded NYC June 1995, (Nonesuch 1996)
- ^ www.metoperafamily.org
External links[link]
- NewMusicBox: Dawn Upshaw in conversation with Frank J. Oteri, 2002
- Dawn Upshaw in Conversation from WGBH Radio Boston
- A biography
- IMG Artists
| Persondata | |
|---|---|
| Name | Upshaw, Dawn |
| Alternative names | |
| Short description | Singer |
| Date of birth | July 17, 1960 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Dawn_Upshaw
Related pages:
http://ru.wn.com/Апшоу, Дон
http://fr.wn.com/Dawn Upshaw
http://nl.wn.com/Dawn Upshaw
http://pt.wn.com/Dawn Upshaw
http://de.wn.com/Dawn Upshaw
http://es.wn.com/Dawn Upshaw
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Dawn_Upshaw
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Valery Abisalovich Gergiev PAR (Russian: Валерий Абисалович Гергиев, Ossetic: Гергиты Абисалы фырт Валери/Gergity Abisaly Fyrt Valeri; born 2 May 1953) is a Russian conductor and opera company director. He is general director and artistic director of the Mariinsky Theatre, principal conductor of the London Symphony Orchestra, and artistic director of the White Nights Festival in St. Petersburg.
Contents |
Early life[link]
Gergiev, born in Moscow, is the son of Tamara Tatarkanovna and Abisal Zaurbekovich.[1] He and his siblings were raised in Vladikavkaz in their native North Ossetia in the Caucasus. He began piano at secondary school, before going on to study at the St. Petersburg Conservatory in Leningrad from 1972 to 1977. His principal conducting teacher was Prof. Ilya Musin (Илья Мусин), one of the greatest conductor-makers in Russian musical history. His sister, Larissa Gergieva, is a pianist and director of the Mariinsky's singers' academy.[2]
Career[link]
In 1978, he became assistant conductor at the Kirov Opera, now the Mariinsky Opera, under Yuri Temirkanov, where he made his debut conducting Sergei Prokofiev's War and Peace. He was chief conductor of the Armenian Philharmonic Orchestra from 1981 until 1985 – the year he made his debut in the United Kingdom, along with pianist Evgeny Kissin, and violinists Maxim Vengerov and Vadim Repin, at The Lichfield Festival.
In 1991, for the first time, Gergiev conducted a western European opera company with the Bavarian State Opera in a performance of Modest Mussorgsky's Boris Godunov in Munich. In the same year he made his American début, performing War and Peace with the San Francisco Opera. Since then he has conducted both operatic and orchestral repertoire across the world. Gergiev is also associated with numerous music festivals, including the White Nights festival in Saint Petersburg.
He became the chief conductor and artistic director of the Mariinsky in 1988, and overall director of the company, appointed by the Russian government, in 1996. In addition to his artistic work with the Mariinsky, Gergiev has worked in fund-raising for such projects as the recently built 1100-seat Mariinsky Hall, and intends to achieve complete renovations of the Mariinsky Theatre by 2010.[3]
From 1995 to 2008, Gergiev was principal conductor of the Rotterdam Philharmonic Orchestra. In 1997, Gergiev became principal guest conductor of the Metropolitan Opera in New York City. His contract there ran until the 2007–2008 season, and his premieres included a new version of Mussorgsky's Boris Godunov, revised and reorchestrated by Igor Buketoff.
In 2002, Gergiev was featured in one scene in the film Russian Ark, directed by Alexander Sokurov and filmed at the Hermitage Museum in St. Petersburg, Russia.
In 2003, he initiated and conducted at the Mariinsky Theatre the first complete cycle of Wagner's The Ring of the Nibelung to be performed in Russia for over 90 years. The production's design and concept reflects many aspects of Ossetian culture. Gergiev conducted this production in Cardiff in 2006 at the Wales Millennium Centre, and in Costa Mesa, California in October 2006 at the Orange County Performing Arts Center. This production was presented at the Lincoln Center in New York City in July 2007 to a great acclaim, and the run was completely sold out.
In 1988, Gergiev made his first guest conducting appearance with the London Symphony Orchestra (LSO). In his next appearance with the LSO in 2004, he conducted the symphonies of Sergei Prokofiev.[4] This engagement led to his appointment in 2005 as the Orchestra's fifteenth principal conductor, succeeding Sir Colin Davis effective January 1, 2007.[5] Gergiev's initial contract with the LSO was for 3 years.[6] His first official concert as the LSO Principal Conductor was on 23 January 2007, as he was supposed to have conducted his first concert as LSO Principal Conductor on 13 January, but had to withdraw because of illness.[7]
In October 2007 Gergiev took part in a unique holiday project featured in the 100th anniversary issue of the Neiman Marcus Christmas Book. A concert by Gergiev and the Kirov Orchestra featuring piano virtuoso Lola Astanova became a part of a $1.59 million fantasy gift. The super concert is said to be hosted by the Emmy-winning American television personality Regis Philbin.[8]
In June 2011, Gergiev took up a highly prominent reformist role as chairman of the International Tchaikovsky Competition. He replaced academic judges with famous performers and introduced an openness to the process, arranging for all performance to be streamed live and free on the internet and for the judges to speak their minds in public as and where they wished. The contest was considered a massive personal triumph[9]
Gergiev has a reputation for an abrasive, yet passionate, conducting style.[10] He is a driven conductor who produces his best in pieces of great drama. Curiously, he often conducts using a toothpick as a baton, as can be seen in his performances of Rimsky-Korsakov's Capriccio Espagnol and Verdi's overture to La Forza del Destino on YouTube. He has stated that his favourite composer is Sergei Prokofiev in his DVD recording of Prokofiev's Scythian Suite. He was awarded the 2006 Polar Music Prize together with Led Zeppelin.
Social and political involvement[link]
In April 2007, Gergiev was one of eight conductors of British orchestras to endorse the 10-year classical music outreach manifesto, "Building on Excellence: Orchestras for the 21st century", to increase the presence of classical music in the UK, including giving free entry to all British schoolchildren to a classical music concert.[11]
Gergiev has also been a consistent supporter of peace in the Caucasus, particularly in the conflict between the Georgian central government and South Ossetia. After the 2004 Beslan school massacre, Gergiev made an appeal on television for calm and against any revenge. He conducted concerts in tribute to the victims of the massacre.[12]
During the 2008 South Ossetia war, Gergiev accused the Georgian government of massacring ethnic Ossetians, triggering the conflict with Russia.[13] He came to Tskhinvali and conducted a concert near the ruined building of the South Ossetian Parliament as tribute to the victims of the war.[14]
Personal life[link]
In 1999, Gergiev married the musician Natalya Dzebisova, who is 27 years his junior and also a native Ossetian, and they have three children: two boys and a girl. From time to time it has been reported that Gergiev is a friend of Vladimir Putin and they are godfathers to one another's children.[15] However in a letter written to one of these sources, Gergiev stated that he and Putin were not the godfathers of each others' children.[16]
Recordings[link]
Gergiev has focused on recording Russian composers' works, both opera and symphonic, including Mikhail Glinka, Pyotr Tchaikovsky, Alexander Borodin, Nikolai Rimsky-Korsakov, Sergei Prokofiev, Dmitri Shostakovich, Igor Stravinsky, Rodion Shchedrin. Most of his recordings, on the Philips label, are with the Kirov Orchestra, while he has also recorded with the Vienna Philharmonic. A recent undertaking, the complete Prokofiev Symphonies, is with the London Symphony Orchestra.[17] Gergiev is also in the process of recording the complete symphonies of Gustav Mahler with the London Symphony Orchestra; all are being recorded live in concert and are available through the London Symphony Orchestra Live label. In 2009 Gergiev and Mariinsky launched a Mariinsky Live record label (being distributed by London Symphony Orchestra Live) with the first two recordings featuring the music of Dmitri Shostakovich.
Gergiev's recording of Prokofiev's Romeo and Juliet with London Symphony Orchestra on LSO live in 2010 was the winner of the Orchestral category and the Disc of the Year of the 2011 BBC Music Magazine Awards.[18]
Discography[link]
Ballets[link]
| Album | Orchestra | Label | Discs | Release Year |
|---|---|---|---|---|
| PROKOFIEV: Romeo and Juliet (complete ballet) | Kirov | Philips | 2 | 1991 |
| PROKOFIEV: Romeo and Juliet (complete ballet) | LSO | LSO Live | 2 | 2010 |
| RAVEL: Daphnis et Chloé (complete ballet) (with Pavane pour une infante défunte and Boléro) | LSO | LSO Live | 1 | 2010 |
| STRAVINSKY: The Firebird (L'Oiseau de feu) (Complete ballet) | Kirov | Philips | 1 | 1998 |
| STRAVINSKY: The Rite of Spring (Le sacre du printemps) (with Scriabin's The Poem of Ecstasy) | Kirov | Philips | 1 | 2001 |
| TCHAIKOVSKY: The Sleeping Beauty (complete ballet) | Kirov | Philips | 2 | 1993 |
| TCHAIKOVSKY: The Nutcracker (complete ballet) | Kirov | Philips | 1 | 1998 |
| TCHAIKOVSKY: Swan Lake (complete ballet) (Highlights available separately) | Mariinsky | Decca | 2 | 2007 |
Operas[link]
| Album | Orchestra | Label | Discs | Release Year |
|---|---|---|---|---|
| BARTÓK: Bluebeard's Castle | LSO | LSO Live | 1 | 2009 |
| BORODIN: Prince Igor | Kirov | Philips | 3 | 1995 |
| DONIZETTI: Lucia di Lammermoor | Mariinsky | Mariinsky Live | 2 | 2011 |
| GLINKA: Ruslan and Ludmila | Kirov | Philips | 3 | 1997 |
| MUSSORGSKY: Boris Godunov (1869 & 1872 version) | Kirov | Philips | 5 | 1999 |
| MUSSORGSKY: Khovanshchina | Kirov | Philips | 3 | 1992 |
| PROKOFIEV: The Love for Three Oranges | Kirov | Philips | 2 | 2001 |
| PROKOFIEV: Semyon Kotko | Kirov | Philips | 2 | 2000 |
| PROKOFIEV: The Gambler | Kirov | Philips | 2 | 1999 |
| PROKOFIEV: The Fiery Angel | Kirov | Philips | 2 | 1995 |
| PROKOFIEV: War and Peace | Kirov | Philips | 3 | 1993 |
| PROKOFIEV: Betrothal in a Monastery | Kirov | Philips | 3 | 1998 |
| RIMSKY-KORSAKOV: Sadko | Kirov | Philips | 3 | 1994 |
| RIMSKY-KORSAKOV: The Maid of Pskov | Kirov | Philips | 2 | 1997 |
| RIMSKY-KORSAKOV: The Legend of the Invisible City of Kitezh | Kirov | Philips | 3 | 1999 |
| RIMSKY-KORSAKOV: Kashchey the Immortal | Kirov | Philips | 1 | 1999 |
| RIMSKY-KORSAKOV: The Tsar's Bride | Kirov | Philips | 2 | 1999 |
| SHOSTAKOVICH: The Nose | Mariinsky | Mariinsky Live | 2 | 2009 |
| STRAVINSKY: Oedipus rex (Comes with Ballet Les noces) | Mariinsky | Mariinsky Live | 1 | 2010 |
| TCHAIKOVSKY: Pique Dame | Kirov | Philips | 3 | 1993 |
| TCHAIKOVSKY: Mazeppa | Kirov | Philips | 3 | 1998 |
| TCHAIKOVSKY: Iolanta | Kirov | Philips | 2 | 1998 |
| VERDI: La Forza del Destino (1862 original version) | Kirov | Philips | 3 | 1997 |
| WAGNER: Parsifal | Mariinsky | Mariinsky Live | 4 | 2010 |
Orchestral Works[link]
| Album | Orchestra | Label | Discs | Release Year |
|---|---|---|---|---|
| BERLIOZ: Symphonie Fantastique, La Mort de Cléopâtre (Soprano: Olga Borodina) | VPO | Philips | 1 | 2003 |
| BORODIN: Symphonies No. 1 & 2 | RPhO | Polygram | 1 | 1991 |
| DEBUSSY: Prélude à l'après-midi d'un faune, La Mer, Jeux | LSO | LSO Live | 1 | 2011 |
| MAHLER: Symphony No. 1 | LSO | LSO Live | 1 | 2008 |
| MAHLER: Symphony Nos. 2 & 10 (Adagio) | LSO | LSO Live | 2 | 2009 |
| MAHLER:Symphony No. 3 | LSO | LSO Live | 2 | 2008 |
| MAHLER: Symphony No. 4 | LSO | LSO Live | 1 | 2010 |
| MAHLER: Symphony No. 5 | LSO | LSO Live | 1 | 2011 |
| MAHLER: Symphony No. 6 | LSO | LSO Live | 1 | 2008 |
| MAHLER: Symphony No. 7 | LSO | LSO Live | 1 | 2008 |
| MAHLER: Symphony No. 8 | LSO | LSO Live | 1 | 2009 |
| MAHLER: Symphony No. 9 | LSO | LSO Live | 1 | 2011 |
| MUSSORGSKY: Pictures at an Exhibition | VPO | Philips | 1 | 2002 |
| PROKOFIEV: Scythian Suite, Alexander Nevsky | Kirov | Philips | 1 | 2003 |
| PROKOFIEV: Completes Symphonies (No. 1–7) (No. 4: 1930 + 1947 Versions) | LSO | Philips | 4 | 2006 |
| RACHMANINOV: Symphony No. 2 | Kirov | Philips | 1 | 1994 |
| RACHMANINOV: Symphony No. 2 | LSO | LSO Live | 1 | 2010 |
| RIMSKY-KORSAKOV: Scheherazade,
BORODIN: In the Steppes of Central Asia, BALAKIREV: Islamey |
Kirov | Philips | 1 | 2001 |
| SHOSTAKOVICH: The War Symphonies (No. 4–9)
Each one available separately |
Kirov | Philips | 5 | 2005 |
| SHOSTAKOVICH: Symphonies No. 1 & 15 | Mariinsky | Mariinsky Live | 1 | 2009 |
| SHOSTAKOVICH: Symphonies No. 2 & 11 | Mariinsky | Mariinsky Live | 1 | 2010 |
| SHOSTAKOVICH: Symphonies No. 3 & 10 | Mariinsky | Mariinsky Live | 1 | 2011 |
| STRAVINSKY: The Firebird – SCRIABIN: Prometheus | Kirov | Philips | 1 | 1998 |
| STRAVINSKY: The Rite of Spring – SCRIABIN: The Poem of Ecstasy | Kirov | Philips | 1 | 2001 |
| TCHAIKOVSKY: Symphonies No. 4, 5, 6Each one available separately | VPO | Philips | 3 | 2005 |
| TCHAIKOVSKY: Symphony No. 5 | VPO | Philips | 1 | 1999 |
| TCHAIKOVSKY: Symphony No. 6, Francesca da Rimini, Romeo and Juliet | Kirov | Philips | 1 | 2000 |
| TCHAIKOVSKY: 1812 Overture and others | Kirov | Philips | 1 | 1994 |
| TCHAIKOVSKY: 1812 Overture, Moscow Cantata, Marche Slave, Coronation March, Danish Overture | Mariinsky | Mariinsky Live | 1 | 2009 |
Orchestral works with soloists[link]
| ALBUM | SOLOIST | ORCHESTRA | LABEL | DISCS | RELEASE YEAR |
|---|---|---|---|---|---|
| BRAHMS & KORNGOLD: Violin Concertos | Nikolaj Znaider | VPO | RCA Red Seal | 1 | 2009 |
| Lang Lang: Liszt, My Piano Hero (LISZT: Piano Concerto No. 1) | Lang Lang | VPO | Sony | 1 | 2011 |
| PROKOFIEV: Complete Piano Concertos (No. 1–5) | Alexander Toradze | Kirov | Philips | 2 | 1998 |
| RACHMANINOV: Piano Concerto No.2, Rhapsody on a Theme of Paganini | Lang Lang | Mariinsky | DG | 1 | 2003 |
| RACHMANINOV: Piano Concerto No.3, Rhapsody on a Theme of Paganini | Denis Matsuev | Mariinsky | Mariinsky Live | 1 | 2010 |
| TCHAIKOVSKY & MIASKOVSKY: Violin Concertos | Vadim Repin | Mariinsky | Philips | 1 | 2003 |
| TCHAIKOVSKY: Variation on a Rococo Theme, PROKOFIEV: Sinfonia Concertante | Gautier Capuçon | Mariinsky | Virgin | 1 | 2010 |
Vocal Works[link]
| ALBUM | SOLOIST | ORCHESTRA | LABEL | DISCS | RELEASE YEAR |
|---|---|---|---|---|---|
| Tchaikovsky & Verdi Arias | Dmitri Hvorostovsky | Kirov | Philips | 1 | 1990 |
| Tchaikovsky & Verdi Arias | Galina Gorchakova | Kirov | Philips | 1 | 1996 |
| Homage: The Age Of The Diva | Renée Fleming | Mariinsky | Decca | 1 | 2007 |
| Russian Album | Anna Netrebko | Mariinsky | DG | 1 | 2006 |
| PROKOFIEV: Ivan The Terrible Cantata | RPhO | Philips | 1 | 1998 |
Videos[link]
DVD[link]
- Valery Gergiev in Rehearsal and Performance
- 60 Minutes: The Wild Man of Music, 2004.
- Valery Gergiev Conducts the Vienna Philharmonic Orchestra in Prokofiev, Schnittke & Stravinsky, 2003.
- Verdi: La forza del destino, Marinsky Theatre Orchestra, 1998.
- Rimsky-Korsakov: Sadko, Kirov Opera, 2006.
- Puccini: Turandot, Vienna Philharmonic, 2006.
- Prokofiev: Betrothal in a Monastery, Kirov Opera, 2005.
- Shostakovich against Stalin, 2005.
- "All the Russias – a musical journey": a five-part documentary through the tradition and heritage of Russian music.
- "Gergiev Conducts Brahms: Ein Deutsches Requiem" Kringelborn, Kwiecien, Swedish Radio Choir, Rotterdam Philharmonic, 2008
- Tschaikovsky: Eugene Onegin; Dmitri Hvorostovsky, Renee Fleming, Ramon Vargas, Metropolitan Opera, 2007
VHS[link]
- Mussorgsky: Boris Godunov, Kirov Opera, 1993.
- Tchaikovsky: Pique Dame, Kirov Opera, 1994.
- Tchaikovsky: Pique Dame, Acts 1 and 2, Kirov Opera, 1992.
- Mussorgsky: Kovanshchina, Kirov Orchestra, 1994.
- Prokofiev: Fiery Angel, Polygram Video, 1996.
Honours and awards[link]
- This article incorporates information from the equivalent article on the Russian Wikipedia.
- Russian
- Order of Merit for the Fatherland;
- 3rd class (24 April 2003) – for outstanding contribution to music culture
- 4th class (2 May 2008) – for outstanding contribution to the development of domestic and world music and theatre, many years of creative activity
- Order of Friendship (12 April 2000) – for services to the state, many years of fruitful work in the field of culture and art, a great contribution to strengthening friendship and cooperation between nations
- Medal "In Commemoration of the 300th Anniversary of Saint Petersburg" (2003)
- Gratitude of the President of the Russian Federation (15 January 2009) – for the concert orchestra of the Mariinsky Theatre under Valery Gergiev rukovodskvom[clarification needed] in support of victims during the Georgian-Ossetian conflict
- Medal "For Valiant Labour" (Tatarstan) – for a fruitful cooperation with the Republic of Tatarstan, an active part in national projects in the fields of culture, outstanding contribution to the development of domestic and world music
- Foreign awards
- Order of St. Mashtots (Armenia, 2000)
- Grand Officer of the Order of Merit of the Italian Republic (2001)
- Order "Danaker" (2001, Kyrgyzstan)
- Medal "Dank" (Kyrgyzstan, 1998)
- Knight of the Order of the Netherlands Lion (2005)
- Order of Prince Yaroslav the Wise, 5th class (Ukraine, May 10, 2006) – a significant personal contribution to the development of cultural ties between Ukraine and Russia, high professionalism and many years of fruitful creative activity
- Officer's Cross of the Order of Merit of the Federal Republic of Germany (2001)
- Commander of the Order of the Lion of Finland (2006)
- Officer of the Legion of Honour (France, 2007)
- Order of Arts and Letters (France)
- Order of the Rising Sun with Golden Rays and Ribbon (Japan, 2006)
- Order "Uatsamonga" (South Ossetia, January 29, 2009) – for courage and great patriotism, invaluable assistance and support to the people of South Ossetia during the Georgian aggression disaster in August 2008
- Honoured Worker of Kazakhstan (2011)
- Silver medal in Valencia (Spain, 2006)
- Medal Pro Mikkeli (Mikkeli, Finland, 2005)
- Medal Johan van Oldenbarnefelta (2008, Rotterdam, The Netherlands)
- Gold Medal for Merit to Culture (Gloria Artis) (Poland, 2011)
- Religious awards
- Order of Saint Prince Daniil of Moscow, 3rd class (Russian Orthodox Church, 2003)
- Order of St. Vladimir (Ukrainian Orthodox Church, 2001)
- Medal of St. Sergius of Radonezh, 1st class (Russian Orthodox Church, 2010).
- Community Awards
- Commemorative Gold Medal "olive branch with Diamonds" (the Russian-Armenian (Slavic) State University)
- Titles
- People's Artist of Russia (June 20, 1996) – for the great achievements in art
- People's Artist of Ukraine (2004)
- People's Artist of North Ossetia – Alania
- Honorary citizen of St. Petersburg (2007), Vladikavkaz (2003), Lyon and Toulouse
- "Conductor of the Year" (1994) awarded by a jury of the international organization International Classical Music Awards
- UNESCO Artist for Peace (2003)
- Honorary Doctor of St. Petersburg State University
- Honorary Professor of Moscow State University (2001)
- Award
- State Prize of the Russian Federation in the field of art and literature in 1993 (7 December 1993) and 1998 (June 4, 1999)
- Prize awarded by the President of the Russian Federation in the field of literature and art in 2001 (January 30, 2002)
- Winner of the country's theatrical prize "Golden Mask" (five times from 1996 to 2000)
- Winner of the Theatre Award of Saint Petersburg "Gold soffit" (four times; 1997, 1998, 2000 and 2003)
- Russian opera prize «Casta diva» for the best performance – "Parsifal" (1998)
- Winner of Tsarskoye Selo Art Prize (1999)
- Shostakovich Prize (Yuri Bashmet Foundation, 1997)
- Royal Swedish Academy of Music Polar Music Prize (2005)
- Herbert von Karajan Prize winner (Baden-Baden, 2006)
- Laureate of the Foundation of American-Russian Cultural Cooperation (2006)
See also[link]
References[link]
- ^ John O'Mahony (18 September 1999). "Demon king of the pit". London: The Guardian. http://www.guardian.co.uk/saturday_review/story/0,,268569,00.html. Retrieved 2007-04-18.
- ^ Jessica Duchen (19 January 2007). "Valery Gergiev: Light the red touchpaper, stand back". London: The Independent. http://enjoyment.independent.co.uk/music/features/article2163454.ece. Retrieved 2007-04-18.
- ^ Geoffrey Norris (18 January 2007). "A Russian energy import". London: Telegraph. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/01/18/bmvalery118.xml. Retrieved 2007-04-18.
- ^ Tom Service (10 May 2004). "LSO/Gergiev". London: The Guardian. http://arts.guardian.co.uk/reviews/story/0,,1213072,00.html. Retrieved 2007-04-18.
- ^ Richard Morrison (24 May 2005). "Lightning conductor". London: The Times. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article525723.ece. Retrieved 2007-04-18.
- ^ Charlotte Higgins (14 April 2006). "Russian maestro reveals his plans for the LSO". London: The Guardian. http://arts.guardian.co.uk/news/story/0,,1753870,00.html. Retrieved 2007-04-18.
- ^ Tim Ashley (16 January 2007). "Gubaidulina". London: The Guardian. http://music.guardian.co.uk/classical/reviews/story/0,,1991168,00.html. Retrieved 2007-04-18.
- ^ "Classical Superstars Fantasy Concert". Neiman Marcus. 2 October 2007. http://www.neimanmarcus.com/store/sitelets/christmasbook/fantasy.jhtml?cid=OCBF8_NMO2795&cmCat=christmas&icid=nmi070209cblaunchparty4.
- ^ http://www.artsjournal.com/slippeddisc/2011/08/2066.html
- ^ Valerie Lawson (28 September 2006). "Life and tempo of a maestro". Sydney Morning Herald. http://www.smh.com.au/news/music/life-and-tempo-of-a-maestro/2006/09/27/1159337220217.html. Retrieved 2007-05-20.
- ^ Charlotte Higgins (26 April 2007). "Orchestras urge free concerts for children". London: The Guardian. http://education.guardian.co.uk/artinschools/story/0,,2066195,00.html. Retrieved 2007-05-06.
- ^ Tom Service (10 November 2004). "Orchestra of the Mariinsky Theatre/ Gergiev". London: The Guardian. http://arts.guardian.co.uk/reviews/story/0,,1347437,00.html. Retrieved 2007-05-20.
- ^ Tim Cornwell (16 August 2008). "'How many of my people were burned?'". The Scotsman. http://news.scotsman.com/entertainment/39How-many-of-my-people.4397425.jp. Retrieved 2008-08-17.
- ^ The Times, LSO conductor Valery Gergiev leads defiant South Ossetia concert, 22.08.2008
- ^ Susan Mansfield (15 August 2008). "Reaping the Russian whirlwind – Valery Gergiev". The Scotsman. http://news.scotsman.com/edinburghinternationalfestival/Reaping-the--Russian-whirlwind.4393921.jp. Retrieved 2008-08-18.
- ^ Valery Gergiev (August 2008). "Letters to the Telegraph". The Daily Telegraph (London). http://www.telegraph.co.uk/comment/letters/3561781/Letters-to-The-Telegraph.html. Retrieved 2008-12-15.
- ^ Andrew Clements (23 June 2006). "Prokofiev: Symphonies 1–7, LSO/Gergiev". London: The Guardian. http://arts.guardian.co.uk/critic/review/0,,1803667,00.html. Retrieved 2007-04-18.
- ^ "BBC Music Magazine Awards". http://www.classical-music.com/awards2011. Retrieved 17 April 2011.
External links[link]
|
Wikimedia Commons has media related to: Valery Gergiev |
- Valery Gergiev Official website (Russian)
- Valery Gergiev at Allmusic
- Rotterdam Philharmonic Gergiev Festival [1]
- Interview with Valery Gergiev by Bruce Duffie, October 16, 1992
- Biography of and CDs by Valery Gergiev by cosmopolis.ch
| Preceded by David Khanjian |
Principal Conductor, Armenian Philharmonic Orchestra 1981–1985 |
Succeeded by Rafael Mangassarian |
| Preceded by Yuri Temirkanov |
Principal Conductor and Music Director, Kirov Opera 1988–present |
Succeeded by incumbent |
| Preceded by Jeffrey Tate |
Principal Conductor, Rotterdam Philharmonic Orchestra 1995–2008 |
Succeeded by Yannick Nézet-Séguin |
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| Persondata | |
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| Name | Gergiev, Valery |
| Alternative names | |
| Short description | |
| Date of birth | 2 May 1953 |
| Place of birth | Moscow |
| Date of death | |
| Place of death | |
- Order of Prince Yaroslav the Wise, 5th class (Ukraine, May 10, 2006) – a significant personal contribution to the development of cultural ties between Ukraine and Russia, high professionalism and many years of fruitful creative activity
http://wn.com/Valery_Gergiev
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http://cs.wn.com/Valerij Gergijev
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http://ru.wn.com/Гергиев, Валерий Абисалович
http://nl.wn.com/Valeri Gergiev
http://pt.wn.com/Valery Gergiev
http://pl.wn.com/Walerij Giergijew
http://fr.wn.com/Valeri Guerguiev
http://de.wn.com/Waleri Abissalowitsch Gergijew
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
