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Simon Trezise (ed.) - The Cambridge Companion to Debussy

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The Cambridge Companion to Debussy
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Simon Trezise ed
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Cambridge University Press
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2003
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Often considered the father of twentieth-century music, Debussy was a visionary whose influence is still felt. This book offers a wide-ranging series of essays on Debussy the man, the musician and composer. It contains insights into his character, his relationship to his Parisian environment and his musical works across all genres, with challenging views on the roles of nature and eroticism in his life and music. His music is considered through the characteristic themes of sonority, rhythm, tonality and form, with closing chapters considering the performance and reception of his music in the first years of the new century and our view of Debussy today as a major force in Western culture. This comprehensive view of Debussy is written by a team of specialists for students and informed music lovers.

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The Cambridge Companion to Debussy

Often considered the falther of twentieth-century music, Debussy was a visionary whose influence is still felt. This book offers a wide-ranging series of essays on Debussy the man, the musician and composer. It contains new insights into his character, his relationship to his Parisian environment and his musical works across all genres, with challenging views on the roles of nature and eroticism in his life and music. His music is considered through the characteristic themes of expression, sonority, rhythm, tonality and form, with closing chapters considering the performance of his music and our view of Debussy today as a major force in Western culture. This wide-ranging view of Debussy is written by a team of specialists for students and informed music lovers.

Simon Trezise is a Lecturer in Music at Trinity College, Dublin. He is the author of Debussy: La mer in the series Cambridge Music Handbooks and has written on French music and on Schoenberg.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to Debussy

Edited by

Simon Trezise

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo

Cambridge University Press

The Edinburgh Building, Cambridge CB2 2RU, United Kingdom

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521652438

Cambridge University Press 2003

This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place with out the written permission of Cambridge University Press.

First published in print format 2003

ISBN-13 978-0-511-07453-0 eBook (Adobe Reader)

ISBN-10 0-511-07453-0 eBook (Adobe Reader)

ISBN-13 978-0-521-65243-8 hardback

ISBN-10 0-521-65243-X hardback

ISBN-13 978-0-521-65478-4 paperback

ISBN-10 0-521-65478-5 paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLS for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

In memoriam Franois Lesure, 19232001

Contents

Simon Trezise

Robert Orledge

Barbara L. Kelly

Dirdre Donnellon

David Grayson

Roger Nichols

Nigel Simeone

Julie McQuinn

Caroline Potter

Boyd Pomeroy

Mark DeVoto

Richard S. Parks

Simon Trezise

Charles Timbrell

Arnold Whittall

Contributors

Mark DeVoto, composer and writer, has been Professor of Music at Tufts University, Medford, Massachusetts since 1981. He edited the fourth and fifth editions of Walter Pistons Harmony ; edited Altenberg Lieder , Op. 4 for the Alban Berg Smtliche Werke ; he recently completed Debussy and the Veil of Tonality: Essays on His Music .

Dirdre Donnellon graduated in music from the University of Manchester in 1993 and completed her M.Phil. at the University of Liverpool in 1996. She recently completed a Ph.D., Debussy, Satie and the Parisian Critical Press, at the University of Liverpool.

David Grayson is Professor of Music at the University of Minnesota. He wrote The Genesis of Debussys Pellas et Mlisande, and contributed to the Cambridge Opera Handbook on Pellas , Debussy Studies and Debussy and His World . He is editing Pellas for the uvres compltes de Claude Debussy and is on the editorial board of Cahiers Debussy . He has also written a Cambridge Music Handbook on two Mozart piano concertos.

Barbara L. Kelly is Lecturer in Music at Keele University. She is author of the Ravel article for New Grove 2 and of a forthcoming book on Darius Milhaud. Her research is focused on late nineteenth- and early twentieth-century French music, and on issues of French national identity from 1870 to 1939.

Julie McQuinn is a Ph.D. candidate and part-time lecturer at Northwestern University. In her dissertation she examines the forces behind perceptions of gender and sexuality in Parisian society at the turn of the twentieth century and their connection to the creation and reception of a handful of highly individual operas performed at the Opra-Comique.

Roger Nichols read music at the University of Oxford and subsequently lectured at various universities before becoming a freelance writer and broadcaster in 1981. He has published widely on French music of the last 200 years, including Ravel (Dent, 1977), Ravel Remembered (Faber, 1987), Debussy Remembered and A Life of Debussy .

Robert Orledge is Professor of Music at the University of Liverpool. His research field is French music between 1850 and 1939 and his main publications are Gabriel Faur (Eulenburg, 1983), Debussy and the Theatre , Charles Koechlin: His Life and Works (Harwood, 1995), Satie the Composer (Cambridge University Press, 1992) and Satie Remembered (Faber, 1995).

Richard S. Parks is Professor of Music Theory at the University of Western Ontario in Canada. He has been exploring theoretical-analytical issues in Debussys music for thirty years and has published articles on the subject in The Journal of Music Theory, Music and Letters and Music Theory Spectrum, and a chapter in Debussy in Performance . His The Music of Claude Debussy appears in the Yale University Press series Composers of the Twentieth Century.

Boyd Pomeroy is Assistant Professor of Music Theory at Georgia State University in Atlanta. A former professional double-bass player, he holds degrees from Edinburgh University, Guildhall School of Music and Drama and Cornell University, where his doctoral dissertation dealt with issues of tonality and form in Debussys orchestral triptychs. Aside from the music of Debussy he specialises in Schenkerian theory and analytical approaches to form in the Classical period.

Caroline Potter is a Senior Lecturer in Music at Kingston University. A graduate in both French and music, she is the author of Henri Dutilleux (Ashgate, 1997). Current projects include a volume on French music since Berlioz, jointly edited with Richard Langham Smith, and a book on Nadia and Lili Boulanger.

Nigel Simeone is Senior Lecturer in Music at the University of Wales, Bangor, and has written widely on twentieth-century French music. His publications include Olivier Messiaen: A Bibliographical Catalogue (Schneider, 1998); Paris: A Musical Gazetteer (Yale University Press, 2000); and articles on Ravel, Poulenc, Messiaen and the Concerts de la Pliade . Current projects include a documentary biography of Messiaen (with Peter Hill) and a study of music in Paris under the German Occupation.

Charles Timbrell is Professor of Music and Coordinator of Keyboard Studies at Howard University, Washington, DC. He has given concerts extensively in the United States and Europe and performed all-Debussy recitals. He is the author of French Pianism (2nd edn, Amadeus Press, 1999) and numerous articles in Cahiers Debussy , Music and Letters and New Grove 2.

Simon Trezise is Lecturer in Music at Trinity College, Dublin (also known as the University of Dublin). His research areas include various approaches to music analysis, performance-practice analysis, history of recording, Debussy and Wagner. He has written on Schoenberg and is author of the Cambridge Handbook Debussy: La mer . He is currently working on the impact of recording upon the performance and reception of classical music.

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