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Estampes by Claude Debussy English Prints Catalogue L. 100 Genre Impressionism Composed 1903 Performed January 9, 1904 ; 121 years ago (1904-01-09) Salle Érard, Paris, France Estampes (Prints), L. 100, is a composition for solo piano by Claude Debussy. It was finished in 1903. The first performance of the work was given by Ricardo Viñes at the Salle Érard of the Société nationale de ...
Claude Debussy's Études are a set of 12 piano études composed in 1915. Debussy described them as "a warning to pianists not to take up the musical profession unless they have remarkable hands". [1] They are broadly considered his late masterpieces. [a] Étude 1 pour les cinq doigts d'après Monsieur Czerny (five fingers, "after Monsieur Czerny")
Claude Debussy c. 1910. This is a complete list of compositions by Claude Debussy initially categorized by genre, and sorted within each genre by "L²" number, according to the 2001 revised catalogue by musicologist François Lesure, [1] which is generally in chronological order of composition date.
Claude Debussy was interested in the symbolist movement and later took inspiration from a poem by Stéphane Mallarmé for his Prélude à l'après-midi d'un faune (1894). ). Reading an anthology of English poetry translated by Gabriel Sarrazin, "Poètes modernes d’Angleterre" (1883) gave Debussy the idea of composing a cantata on the poem "The Blessed Damozel" (1850) by Pre-Raphaelite poet ...
Ballets to the music of Claude Debussy (8 P) C. Chamber music by Claude Debussy (7 P) Concertante works by Claude Debussy (4 P) O. Operas by Claude Debussy (7 P) P.
La cathédrale engloutie" (The Sunken Cathedral) is a musical composition by the French composer Claude Debussy for solo piano, published in 1910. It is the tenth piece in Debussy's first book of préludes. It is characteristic of Debussy in its form, harmony, and content.
The earlier settings were composed for his mistress, Marie Vasnier. The settings in his Fêtes galantes cycle contained some material from the earlier versions, mostly in "Fantoches", although in that song the composer replaced the original flamboyant and virtuosic ending with a gradual diminuendo, which became a frequent feature of his style ...
Pour le piano has been recorded often, [10] sometimes in recordings of all piano music by Debussy, such as by Walter Gieseking in the 1950s and by Noriko Ogawa in the 2010s. [9] Angela Hewitt recorded it, along with other music by Debussy, in 2011. [ 5 ]
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