Debussy’s early piano piece Tarentelle styrienne was published by Choudens in 1891. In 1903 the composer had it reissued under the new title Danse, with a few small revisions, by Fromont, with whom he worked a great deal at the time. He probably did not like the original title for this showpiece. Although Styriennes (Styrian dances) were fashionable in salon music, one tends to think of dances such as the Ländler, rather than the tarantella of southern Italy. Following Debussy’s death in 1918, Maurice Ravel was asked to develop the Danse into a version for orchestra, and it was first performed in 1923.
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Musically and technically, the Danse is the most demanding work of Debussy’s youth. It was published by Choudens in 1891 at the same time as the Ballade as Tarentelle styrienne, and is dedicated to Mme Philippe Hottinguer (née Nelly de Wustemberg), a wealthy pupil of Debussy’s in piano and harmony. One might ask why Debussy would give the title “Tarantella” to a piece … 続き
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作曲家について
Claude Debussy
Most important French composer around 1900, whose music, primarily characterized by its sound, exhibits profound innovations. His oeuvre bears a close relationship to Symbolism.
| 1862 | Born in Saint-Germain-en-Laye on August 22. |
| 1872–84 | Studies at the Conservatoire de Paris. During this time, he travels with the family of Nadezhda von Meck to Switzerland, Italy, Vienna, and Russia, where he becomes acquainted with Russian and Gypsy music. |
| 1884 | Wins the Prix de Rome with his cantata “L’Enfant prodigue.” Thereafter resides in Rome until 1887. |
| 1887–89 | Songs, “Cinq Poèmes de Baudelaire.” |
| 1888/89 | Visit to the Bayreuth Festival; criticism of Wagner. |
| 1889 | Exposition universelle (World Exposition) in Paris, where he learns about East Asian music, which influences his style. |
| 1890 | Connection to Mallarmé and his circle. |
| 1891/1903 | Series of songs, “Fêtes galantes,” after Verlaine. |
| 1891–94 | Orchestral work “Prélude à l’après-midi d’un faune” (“Prelude to the Afternoon of a Faun”) with arabesque-like melodies. |
| 1897–99 | Nocturnes for orchestra and women’s voices. |
| 1901 | Beginning of his activity as a music critic. |
| 1902 | Performance of the opera “Pelléas et Mélisande” after the Symbolist drama by Maeterlinck, which despite criticism spells his breakthrough. |
| 1903–05 | Orchestral work “La Mer” uses symphonic principles and “Impressionist” tonal language. |
| 1905–07 | Books one and two of “Images” for piano. |
| 1906–08 | “Children’s Corner,” children’s pieces for piano. |
| 1909–10/11–1913 | Books one and two of the “Préludes” for piano; the programmatic titles of these character pieces, some of which are quite esoteric, are listed at the end of each one. |
| 1913 | Songs “Trois poèmes de Stéphane Mallarmé.” |
| 1915–17 | Chamber music sonatas, drawing from the French tradition of the eighteenth century. |
| 1918 | Death in Paris on March 25. |