| a SELECTED PIANO WORKS ; aps US)TABLE OF CONTENTS INTRODUCTION ©. 222-22 ee ee NOTES ON THE LIFE AND TIMES OF DEBUSSY ar MUSICAL ORNAMENTS AND THEIR INTERPRETATION HIGHLIGHTS OF THE ROMANTIC PERIOD Ballade 2.2... 22. Clair De Lune (Suite Bergamasque) Danse (Tarantelle Styrienne) First Arabesque (Deux Arabesques) . - Jardins Sous LaPuie 2... ee Mazurka : - Menuet (Suite Bergamasque) a cee NocturneInDFlat .. 2... ee ee wee Passepied (Suite Bergamasque) Prelude (Suite Bergamasque) Reveric eer Sarabande (Pour Le Piano) Second Arabesque (Deux Arabesques) Valse Romantique Copyright ©1971 by California ic Prose International Copyright Secured Madein U.S.A. "All Rights Reserved Rae 32 53 87 2 80 59 67 n 10 26Omoa< Vo | CLAUDE ACENN LIS DEBUSSY (1862-1918 TSO Claude Debussy in 1894, Photo, mutilated by Debussy, taken by Pierre Louys INTRODUCTION A Debussy enthusiast, and a perceptive writer, once wrote of Debussy “.... his world may have been small, bur in it he was a great man, and sometimes he saw beyond. His small world was that of what is usually called “musical impressionism”, in which the broad. direct stroke was nothing without the ace ic effect, devices of npanying nuances, in which, for coloris ys be broken was pure beauty of sound, In one sense, Debussy's music represents a revalt against Classical and many periods of history were incorporated, and in which the rules could al the result Romantic music. In an er sense it represents a refinement of both of these styles. artist is a product of his times, and while Debussy’s music is obviously the creation of vital and pulsing Ii movements of the day. Edgar Allan Poe, Mallarme, Baudelaire, Swinburne, Oscar Wild y gre a powerful musical mind, i also reflects his affinities with ch rary and artistic and many movement, and other writers had their influences upon him. He was an enthusiast for the Art Nowve at a concert entirely devoted to Debussy works, given on Ist March 1894 in the gallery of La Libre Esthetique in Brussels, the gallery was decorated with paintings by Re: Gauguin, Pissarro: and Signac, and displayed were s of Toulouse-Lautree, William Morris's illuminated books of the Kelmscoct Press, and Aubrey Beardsley’s illustrations for Oscar Wilde’s Salome As Debussy wrote at this period, “Desire is everything. One has a mad but perfectly sincere craving for a work of art.”