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375:, that was more in keeping with the new style of music and inspiration Debussy was seeking. He had in fact asked Henri de Régnier, a close associate of Mallarmé, to inform the latter of his interest in setting the poems to a new kind of musical impression. Mallarmé was vehemently opposed to juxtaposing poetry and music and was strongly against Debussy's compositional idea. After Mallarmé heard the completed
1023:"FĂŞtes" gives the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm.
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and each of the individual movements, printed in the programme for the first complete performance in 1901: "The title 'Nocturnes' is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the
Nocturne, but rather
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movement reminded his biographer LĂ©on Vallas of
Whistler's "Harmonies in blue and silver". Vallas noted that Whistler "was a favourite with Debussy, and their art has often been compared." The two were mutual influences, with Whistler borrowing from musical vocabulary to name his pictures, while
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in Paris with his friend Paul
Poujaud, he told him that on a similar kind of day the idea of the symphonic work "Clouds" had occurred to him: he had visualized those very thunderclouds swept along by a stormy wind; a boat passing, with its horn sounding. These two impressions are recalled in the
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Debussy may have begun creating the work for an intended performance in New York City, promoted and sponsored by Prince André Poniatowski, a banker and writer, and a confidant to whom
Debussy frequently expressed himself in long letters. The New York performance was to consist of the premiere of
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could not be staged because the female choir needed for it was unavailable. The complete work was premiered by the same orchestra and conductor on 27 October 1901. Though these initial performances received a cool response from the public, they were more positively hailed by fellow musicians. A
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For several years after its publication, almost until the day he died, Debussy continued to tinker with the composition, at first making corrections to dozens of errors in his copy of the published score, then moving on to adjusting small passages and fundamentally revising the
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on 3 September 1907, Debussy writes "I am more and more convinced that music, by its very nature, is something that cannot be cast into a traditional and fixed form. It is made up of colors and rhythms"; he found suitable material in the imagery of these poems.
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to integrate the wordless singing of the women's chorus with the orchestra. Two of these scores exist with
Debussy's changes in different colors of pencils and inks, and often these changes are contradictory or simply alternate versions. As Debussy told conductor
491:, that he was finding it more difficult to compose these three orchestral nocturnes than a five-act opera. Wanting to equal the sensation caused by the success of "The Afternoon of a Faun" piece, he drove himself toward an over-perfectionism with the
362:; it has been said that he eventually destroyed its complete score because he felt he could no longer write "that kind of music" to "that kind of literature", but his biographer says he merely concealed them and they remained in private collections.
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In
September he described the music to Ysaÿe as "an experiment in the different combinations that can be achieved with one colour—what a study in grey would be in painting". Whistler's most famous painting was a portrait of his mother called
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by
Fromont, ending in 1922; multiple scores by Jean Jobert between 1922 and 1930; multiple versions of a heavily revised Jobert score appearing between 1930 and 1964; a 1977 edition by Peters of Leipzig; and a study score from Durand.
459:. Debussy scored the orchestral part of the first of the three pieces for strings alone; the second for three flutes, four horns, three trumpets, and two harps; and the third for the two groupings together. The first version of the
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has been translated as saying: "It is pure music, conceived beyond the limits of reality, in the world of dreams, among the ever-moving architecture that God builds with mists, the marvelous creations of the impalpable realms."
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Debussy continued to modify the composition just as he had for the seven years prior to its publication, sometimes just not satisfied or sometimes thinking of a new experiment in sound, a new color combination of instrumental
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The tempo markings are "Modérément animé – Un peu plus lent – En animant surtout dans l'expression – Revenir progressivement au Tempo I – En augmentant peu à peu – Tempo I – Plus lent et en retenant jusqu'à la fin."
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A comprehensive version addressing many more of
Debussy's "possibilities" was published in 1999 by Durand, edited and annotated by Denis Herlin. One reviewer states "in this new critical edition for the Debussy
544:, who helped to support Debussy financially beginning in 1894. It was published under contract to Hartmann's publisher, under the Eugène Fromont imprint in 1900. This printed score contained dozens of errors.
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based on his first poem, however, Debussy had evidently caused him to completely reverse his belief, as he expressed his astonishment in lavishing praise and admiration in a personal letter to the composer.
1880:
Daitz suggests a date for the original article, but does not give the quote. More details may be available in her Ph.D. thesis. She writes: 'Breville's longest series of articles was written for the
1884:. Missing only a few months, he wrote the "Revue du Mois-Musique" from February 1898 through July 1901. It was in one of these articles (January 1901) that he reviewed the premiere of Debussy's
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By 1897, Debussy had decided to dispense with a solo violin part and the orchestral groupings, and simply write all three movements for a full orchestra. He worked for the next two years on the
476:, which occupied him with no small measure of trouble over the next nine years, until it premiered on 30 April 1902. Thus it wasn't until 1896 that he informed YsaĂże that the music for the
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completed two years earlier, a rather traditional work in classical form but a tradition which
Debussy in the next two years would reject and musically move away from (resulting in the
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The tempo markings are "Animé et très rythmé – Un peu plus animé – Modéré mais toujours très rythmé – Tempo I – De plus en plus sonore et en serrant le mouvement – Même
Mouvement."
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According to Debussy, "'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white." Biographer
495:. Having worked on the composition for as long as seven years, constantly revising it and changing its very structure several times, he expected it to live up to his own grand,
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he hadn't heard yet. Many of these changes were finally incorporated into a "definitive version" published in 1930 by Jobert. This version continues to be performed today.
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According to Debussy, "'Sirènes' depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the
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are considered one of Debussy's most accessible and popular works, admired for their beauty and for holding new possibilities and wonder upon repeated hearings.
392:, after RĂ©gnier's poetry, were completed in piano score in 1893, but before Debussy had a chance to orchestrate them he attended the premiere performance of his
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when the latter asked which were the right ones: "I'm not really sure; they are all possibilities. Take this score with you and use whatever you like from it."
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I myself love music passionately; and because I love it, I try to set it free from barren traditions that stifle it. It is a free art, gushing forth, an
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seems to be the one described; he later abandoned the idea of the solo violin arrangement when he was unable to get YsaĂże to undertake the performance.
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347:, which Debussy told the prince were "pretty much finished" even though he hadn't put anything on paper yet. The American concert deal fell through.
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2204:- Mikko Franck, Orchestre Philharmonique de Radio France, Chœur de Radio France, Maîtrise de Radio France (September 15, 2017)
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1267:"Claude Debussy: Nocturnes. Édition de Denis Herlin. Paris: Durand, 1999 & Paris: Durand (T. Presser), 2000. Reviewed"
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for practical performance have been confidently answered." Herlin has carefully traced and analyzed four printings of the
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292:. However, the lack of actual manuscripts makes it impossible to determine whether such works were truly related to the
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art, an art boundless as the elements, the wind, the sky, the sea! It must never be shut in and become an academic art.
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1900:
Herlin, Denis (1997). "Sirens in the Labyrinth: Amendments in Debussy's Nocturnes". In Smith, Richard Langham (ed.).
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Debussy went on to explain to Poujaud that "Festivals" had been inspired by a recollection of merry-making in the
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Composers on Music: Eight Centuries of Writings: A New and Expanded Revision of Morgenstern's Classic Anthology
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He was also working on another orchestral triptych after a cycle of three poems by another symbolist poet,
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2000:
Five great French composers: Berlioz, César Franck, Saint-Saëns, Debussy, Ravel: Their Lives and Works
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has also been transcribed for large symphonic wind ensemble by Merlin Patterson and William Schaefer.
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2198:- Pierre Boulez, Vienna Philharmonic, Vienna State Opera Chorus (Salzburg Festival, August 30, 1992)
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1603:. Translated by O'Brien, Maire; O'Brien, Grace. London: Oxford University Press; Humphrey Milford.
404:. Debussy was impressed and flattered by YsaĂże's interest in his music and decided to rewrite his
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was signed with the completion date of 15 December 1899. The manuscript bears a dedication to
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poet, and his poems contain vivid imagery and dreamlike associations of ideas. In a letter to
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The tempo markings are "Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent."
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had pretty much been completed and he still wanted YsaĂże to perform the solo violin part.
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all the various impressions and the special effects of light that the word suggests."
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languorous succession of chords and by the short chromatic theme on the English horn.
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612:, all of the most important questions concerning the establishment of a text of the
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In 1894, after completing the first movement of his Mallarmé triptych entitled
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Woodwind Anthology: A Compendium of Woodwind Articles from the Instrumentalist
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1083:, who in turn had borrowed the term from music. Debussy's description of the
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in 1893, Debussy had immediately begun work on an opera more to his liking,
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1826:. Vol. 1. Northfield, IL: Instrumentalist Company. 1992. p. 599
1717:(Stephen Coombs and Christian Scott, 2p), Helios CDH55014 (CD), May 1999
1490:
Afternoon of a Faun: How Debussy Created a New Music for the Modern World
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never being performed or published in his lifetime); his experimental
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1415:(2nd ed.). Boston: Northeastern University Press. p. 207.
280:'s biography, it has generally been assumed that composition of the
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1321:"Nocturnes Nos. 1 and 2. About the Work. Composer: Claude Debussy"
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437:(to "The Afternoon of a Faun"), he began the recomposition of the
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1854:
Daitz, Mimi Segal (July 1981). "Pierre de Bréville (1861–1949)".
1623:
Collected Works of Paul Valéry, Volume 8: Leonardo, Poe, Mallarmé
487:, and once confessed to his friend and benefactor, the publisher
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1210:(Debussy's pupil and stepson), and was first performed in 1911.
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343:, from four years prior, also still unperformed as yet; and the
255:, who wrote it between 1892 and 1899. It is based on poems from
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Liner notes to Debussy : The complete music for two pianos
1035:, with noisy crowds watching the drum and bugle corps of the
555:, received their premiere on 9 December 1900 in Paris by the
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The complete work was transcribed in 1910 for two pianos by
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647:
2066:
Debussy and the veil of tonality : essays on his music
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Debussy and the veil of tonality : essays on his music
1358:
Program notes for Concerts by the Symphony of the Canyons
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recorded Debussy's comments on the genesis of this piece:
384:
Three Nocturnes for solo violin and partitioned orchestra
350:
Debussy was already working with difficulty on his opera
1904:. Cambridge: Cambridge University Press. pp. 51–77.
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One day, in stormy weather, as Debussy was crossing the
2002:. Freeport, NY: Books for Libraries Press. p. 168.
21:"Trois Nocturnes" redirects here. For other uses, see
1454:
Debussy: His Life and Mind, Volume 1 : 1862–1902
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A computer-generated soundfile of the first movement
276:
Based on comments in various Debussy letters and in
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1214:was arranged for solo piano by the English pianist
441:in a new inspired style, retitling the new version
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2088:, which credits the original text to LĂ©on Vallas,
55:Original manuscript of the orchestral arrangement
1565:. pp. 12–13. Debussy: Rodrigue et Chimène (
900:The entire work lasts approximately 25 minutes.
445:after a series of paintings of the same name by
2051:. British Broadcasting Corporation. p. 20.
1768:Nichols, Roger; Smith, Richard Langham (1989).
1029:
1021:
947:
501:
417:Nocturne in Black and Gold – The Falling Rocket
2069:. Hillsdale, NY: Pendragon Press. p. 99.
1924:. Hillsdale, NY: Pendragon Press. p. 99.
1706:Trois Nocturnes, L98. composer: Claude Debussy
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1409:Morgenstern, Sam (1997) . Fisk, Josiah (ed.).
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1388:. Oxford University Press. pp. 176–178.
644:The piece has the following instrumentation.
628:were performed as a ballet in May 1913, with
8:
903:Debussy wrote an "introductory note" to the
288:("Three Scenes at Twilight"), an orchestral
1218:, and the arrangement has been recorded by
532:Debussy at the piano in the summer of 1893
408:into a piece for solo violin and orchestra.
16:Composition for orchestra by Claude Debussy
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1088:Debussy did something similar in reverse.
1027:LĂ©on Vallas, in his biography, continues:
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2191:International Music Score Library Project
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456:Arrangement in Grey and Black No. 1
2045:A very similar translation is given by
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449:, who was living in Paris at the time.
2164:(Music LP). New York: Franco Colombo.
1664:Claude Debussy : Master of Dreams
861:
587:. Debussy made many subtle changes to
536:A full score of the manuscript of the
2645:Hommage Ă S. Pickwick Esq. P.P.M.P.C.
2408:Rhapsodie for saxophone and orchestra
1569:, conductor), Erato 98508 (CD), 1995.
1104:Harmony in blue and silver: Trouville
7:
2441:Dances for Harp and String Orchestra
1771:Claude Debussy, Pelléas et Mélisande
1352:Kuenning, Geoff (14 December 1996).
3086:Orchestral compositions with chorus
3066:Compositions for symphony orchestra
2456:Six sonatas for various instruments
1130:Nocturne: Blue and Silver – Chelsea
310:(published in 1890). RĂ©gnier was a
2061:A similar translation is given by
1527:The Cambridge Companion to Debussy
14:
3005:Prélude à l'après-midi d'un faune
2730:Cinq poèmes de Charles Baudelaire
2396:Fantaisie for piano and orchestra
2346:Prélude à l'après-midi d'un faune
2162:FĂŞtes : from Three Nocturnes
1600:Claude Debussy His Life And Works
875:, each with a descriptive title.
135:
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1110:
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862:Problems playing this file? See
844:
247:orchestral composition in three
23:Three Nocturnes (disambiguation)
1842:on January 31, 1910, he said...
1637:(published 1972). p. 263.
1382:Jensen, Eric Frederick (2014).
524:Completion and further revision
400:led by Belgian violin virtuoso
1774:. Cambridge University Press.
1329:Santa Barbara Symphony website
284:began in 1892 under the title
1:
2773:Le Martyre de saint SĂ©bastien
2142:Tanin, Ates (1 August 2005).
2121:. London: Faber & Faber.
1956:. Paris: Durand (T. Presser).
1075:of the same name but to the "
986:time (shown subdivided into
466:Following the abandonment of
308:Poèmes anciens et romanesques
302:was inspired by ten poems by
257:Poèmes anciens et romanesques
79:Poèmes anciens et romanesques
2090:Claude Debussy et son temps.
1968:"Nocturnes (Claude Debussy)"
1174:Nocturne: Blue and Silver –
1159:Nocturne: Blue and Silver –
1143:Nocturne: Blue and Silver –
512:Debussy, in an interview in
141:27 October 1901 (all 3 mvts)
2601:La fille aux cheveux de lin
2292:La chute de la maison Usher
2119:Debussy: A Painter in Sound
2104:Claude Debussy et son temps
1487:Snyder, Harvey Lee (2015).
1059:as they laugh and pass on.
3102:
2970:Cydalise et le Chèvre-pied
2594:Ce qu'a vu le vent d'ouest
2092:Paris: Albin Michel, 1958.
1635:Routledge & Kegan Paul
1559:Rodrigue et Chimène, notes
1531:Cambridge University Press
1525:. In Simon Trezise (ed.).
1459:Cambridge University Press
1457:. Cambridge and New York:
1319:Rodda, Richard E. (2019).
396:in December, given by the
300:Trois Scènes au Crépuscule
286:Trois Scènes au Crépuscule
272:"Three Scenes at Twilight"
20:
2914:
2827:
2284:Le diable dans le beffroi
2245:
1954:Claude Debussy: Nocturnes
1189:Nocturne: Blue and Silver
1117:Nocturne: Blue and Silver
547:The first two movements,
394:String Quartet in G minor
48:
37:
3056:Suites by Claude Debussy
2667:Four hands or two pianos
2146:. Doremi. Archived from
2049:Debussy orchestral music
1748:Los Angeles Philharmonic
2683:Six Ă©pigraphes antiques
2615:La cathédrale engloutie
2608:La sérénade interrompue
2117:Walsh, Stephen (2018).
1998:Brook, Donald (1971) .
372:L'après-midi d'un faune
328:for piano and orchestra
251:by the French composer
2802:Impressionism in music
2106:. Paris: Albin Michel.
1952:Herlin, Denis (2000).
1801:Petrucci Music Library
1041:
1025:
1019:According to Debussy:
1013:
956:
935:
924:
830:
533:
521:
447:James McNeill Whistler
428:
233:, L 98 (also known as
158:1930 (revised version)
2948:Unprepared modulation
2633:, Book 2 (1912–1913)
2575:, Book 1 (1909–1910)
2102:Vallas, LĂ©on (1958).
2063:DeVoto, Mark (2004).
1918:DeVoto, Mark (2004).
1597:Vallas, Leon (1933).
1073:the musical tradition
969:
930:
922:
829:
563:. The third movement
531:
414:
388:Meanwhile, Debussy's
3081:Music based on poems
2797:Musée Claude-Debussy
2587:Des pas sur la neige
2271:Pelléas et Mélisande
2248:List of compositions
1703:Avis, Peter (1999).
1497:. pp. 117–120.
1354:"Debussy: Nocturnes"
1063:Whistler and Debussy
473:Pelléas et Mélisande
390:Scènes au Crépuscule
2879:Impressionist music
2263:Rodrigue et Chimène
2047:Cox, David (1974).
1836:In an interview in
1619:"Stephane Mallarmé"
1449:Lockspeiser, Edward
951:Pont de la Concorde
767:(3rd movement only)
557:Lamoureux Orchestra
468:Rodrigue et Chimène
353:Rodrigue et Chimène
2807:Debussy quadrangle
2757:La Damoiselle Ă©lue
2549:Reflets dans l'eau
2402:Première rhapsodie
2327:La boîte à joujoux
1856:19th-Century Music
1327:. Article also at
1325:The Kennedy Center
1176:The Lagoon, Venice
1014:
936:
925:
831:
570:Pierre de Bréville
561:Camille Chevillard
534:
429:
340:La Damoiselle Ă©lue
3076:Orchestral suites
3061:1899 compositions
3043:
3042:
3030:Modernism (music)
2943:Pentatonic scales
2845:
2844:
2722:Ariettes oubliées
2701:
2700:
2662:
2661:
2624:La plus que lente
2558:Children's Corner
2512:suite (1894–1901)
2501:Suite bergamasque
2417:
2416:
2389:L'enfant prodigue
2144:"Recorded Gilels"
2128:978-0-571-33016-4
1882:Mercure de France
1678:978-0-313-20775-4
1659:Dumesnil, Maurice
1540:978-0-521-65478-4
1523:"Debussy the Man"
1504:978-1-574-67482-8
1468:978-0-521-29341-9
849:
815:
814:
610:oeuvres complètes
575:Mercure de France
420:from a series of
367:Stéphane Mallarmé
356:, a biography of
226:
225:
134:9 December 1900 (
3093:
2953:Whole tone scale
2920:
2872:
2865:
2858:
2849:
2835:
2834:
2691:En blanc et noir
2664:
2566:The Little Nigar
2493:Valse romantique
2474:
2378:
2279:
2232:
2225:
2218:
2209:
2189:: Scores at the
2174:
2173:
2158:
2152:
2151:
2139:
2133:
2132:
2114:
2108:
2107:
2099:
2093:
2087:
2085:
2083:
2059:
2053:
2052:
2043:
2037:
2036:
2034:
2032:
2023:
2015:
2004:
2003:
1995:
1982:
1981:
1979:
1978:
1964:
1958:
1957:
1949:
1943:
1942:
1940:
1938:
1915:
1906:
1905:
1897:
1891:
1890:
1851:
1845:
1844:
1833:
1831:
1818:
1812:
1811:
1809:
1807:
1792:
1786:
1785:
1765:
1759:
1758:
1756:
1754:
1740:
1727:
1726:
1724:
1722:
1711:Hyperion Records
1700:
1683:
1682:
1667:. Westport, CT:
1655:
1649:
1648:
1625:. Translated by
1611:
1605:
1604:
1594:
1571:
1570:
1551:
1545:
1544:
1515:
1509:
1508:
1484:
1473:
1472:
1445:
1434:
1433:
1431:
1429:
1406:
1400:
1399:
1379:
1373:
1372:
1370:
1368:
1349:
1340:
1339:
1337:
1335:
1316:
1285:
1284:
1282:
1280:
1274:Tufts University
1271:
1265:(16 May 2018) .
1259:
1222:, among others.
1186:
1171:
1156:
1140:
1126:
1114:
1100:
1071:, refers not to
1033:Bois de Boulogne
1011:
1010:
1009:
998:
997:
996:
985:
984:
983:
871:There are three
851:
850:
828:
648:
542:Georges Hartmann
519:
506:
489:Georges Hartmann
304:Henri de RĂ©gnier
261:Henri de RĂ©gnier
169:about 25 minutes
137:
121:Georges Hartmann
111:
109:
83:Henri de RĂ©gnier
53:
39:Orchestral music
28:
3101:
3100:
3096:
3095:
3094:
3092:
3091:
3090:
3046:
3045:
3044:
3039:
3018:
2957:
2938:Parallel chords
2921:
2912:
2881:
2876:
2846:
2841:
2823:
2819:Debussy Heights
2779:
2744:
2697:
2658:
2544:, Set 1 (1905)
2465:
2413:
2376:
2333:
2298:
2250:
2241:
2236:
2183:
2178:
2177:
2160:
2159:
2155:
2141:
2140:
2136:
2129:
2116:
2115:
2111:
2101:
2100:
2096:
2081:
2079:
2077:
2062:
2060:
2056:
2046:
2044:
2040:
2030:
2028:
2021:
2017:
2016:
2007:
1997:
1996:
1985:
1976:
1974:
1966:
1965:
1961:
1951:
1950:
1946:
1936:
1934:
1932:
1917:
1916:
1909:
1902:Debussy Studies
1899:
1898:
1894:
1853:
1852:
1848:
1829:
1827:
1820:
1819:
1815:
1805:
1803:
1794:
1793:
1789:
1782:
1767:
1766:
1762:
1752:
1750:
1742:
1741:
1730:
1720:
1718:
1709:(Media notes).
1702:
1701:
1686:
1679:
1671:. p. 181.
1669:Greenwood Press
1657:
1656:
1652:
1645:
1631:James R. Lawler
1613:
1612:
1608:
1596:
1595:
1574:
1561:(Media notes).
1553:
1552:
1548:
1541:
1519:Orledge, Robert
1517:
1516:
1512:
1505:
1486:
1485:
1476:
1469:
1461:. p. 127.
1447:
1446:
1437:
1427:
1425:
1423:
1408:
1407:
1403:
1396:
1381:
1380:
1376:
1366:
1364:
1351:
1350:
1343:
1333:
1331:
1318:
1317:
1288:
1278:
1276:
1269:
1261:
1260:
1237:
1232:
1216:Leonard Borwick
1200:
1195:
1194:
1193:
1190:
1187:
1178:
1172:
1163:
1157:
1148:
1141:
1132:
1127:
1118:
1115:
1106:
1101:
1079:" paintings of
1065:
1049:
1039:pass in parade.
1037:Garde Nationale
1008:
1003:
1002:
1001:
1000:
995:
990:
989:
988:
987:
982:
977:
976:
975:
974:
964:
917:
898:
869:
868:
860:
858:
857:
856:
855:
852:
845:
842:
832:
826:
821:
816:
694:
642:
640:Instrumentation
594:Ernest Ansermet
526:
520:
511:
504:
439:Twilight Scenes
406:Twilight Scenes
386:
345:Twilight Scenes
274:
269:
241:Three Nocturnes
236:Trois Nocturnes
222:
205:
161:
144:
107:
105:
96:
56:
26:
17:
12:
11:
5:
3099:
3097:
3089:
3088:
3083:
3078:
3073:
3068:
3063:
3058:
3048:
3047:
3041:
3040:
3038:
3037:
3035:Romantic music
3032:
3026:
3024:
3020:
3019:
3017:
3016:
3008:
3001:
2994:
2987:
2984:L'isle joyeuse
2980:
2973:
2965:
2963:
2959:
2958:
2956:
2955:
2950:
2945:
2940:
2935:
2933:Bitonal chords
2929:
2927:
2923:
2922:
2915:
2913:
2911:
2910:
2905:
2903:Gabriel Pierné
2900:
2895:
2893:Claude Debussy
2889:
2887:
2883:
2882:
2877:
2875:
2874:
2867:
2860:
2852:
2843:
2842:
2840:
2839:
2828:
2825:
2824:
2822:
2821:
2816:
2815:
2814:
2804:
2799:
2794:
2787:
2785:
2781:
2780:
2778:
2777:
2769:
2765:Trois Chansons
2761:
2752:
2750:
2746:
2745:
2743:
2742:
2738:FĂŞtes galantes
2734:
2726:
2718:
2709:
2707:
2703:
2702:
2699:
2698:
2696:
2695:
2687:
2679:
2670:
2668:
2660:
2659:
2657:
2656:
2650:
2649:
2648:
2641:
2628:
2620:
2619:
2618:
2611:
2604:
2597:
2590:
2583:
2570:
2562:
2554:
2553:
2552:
2537:
2533:L'isle joyeuse
2529:
2521:
2513:
2505:
2497:
2489:
2485:Two Arabesques
2480:
2478:
2471:
2467:
2466:
2464:
2463:
2453:
2444:
2438:
2435:String Quartet
2432:
2425:
2423:
2419:
2418:
2415:
2414:
2412:
2411:
2405:
2399:
2393:
2384:
2382:
2381:With a soloist
2375:
2374:
2366:
2358:
2350:
2341:
2339:
2335:
2334:
2332:
2331:
2323:
2315:
2306:
2304:
2300:
2299:
2297:
2296:
2288:
2280:
2267:
2258:
2256:
2252:
2251:
2246:
2243:
2242:
2239:Claude Debussy
2237:
2235:
2234:
2227:
2220:
2212:
2206:
2205:
2199:
2193:
2182:
2181:External links
2179:
2176:
2175:
2153:
2150:on 2006-04-14.
2134:
2127:
2109:
2094:
2076:978-1576470909
2075:
2054:
2038:
2005:
1983:
1959:
1944:
1931:978-1576470909
1930:
1907:
1892:
1868:10.2307/746557
1846:
1813:
1787:
1780:
1760:
1728:
1684:
1677:
1650:
1643:
1627:Malcolm Cowley
1606:
1572:
1555:Samuel, Claude
1546:
1539:
1510:
1503:
1474:
1467:
1435:
1422:978-1555532796
1421:
1401:
1395:978-0199730056
1394:
1374:
1341:
1286:
1234:
1233:
1231:
1228:
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1128:
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1092:
1091:
1090:
1064:
1061:
1048:
1042:
1004:
991:
978:
963:
957:
933:seventh chords
916:
910:
897:
896:
890:
884:
877:
859:
853:
843:
835:
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833:
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813:
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807:
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797:
792:
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782:
781:
775:
769:
768:
765:women's chorus
762:
755:
754:
753:
748:
742:
741:
736:
730:
729:
723:
717:
710:
703:
696:
692:
691:
685:
679:
673:
667:
662:(3rd doubling
656:
646:
641:
638:
525:
522:
509:
385:
382:
316:Jacques Durand
273:
270:
268:
265:
253:Claude Debussy
224:
223:
221:
220:
219:women's chorus
217:
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192:
185:
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113:
102:
98:
97:
95:
94:
85:
75:
73:
69:
68:
62:
58:
57:
54:
46:
45:
43:Claude Debussy
35:
34:
15:
13:
10:
9:
6:
4:
3:
2:
3098:
3087:
3084:
3082:
3079:
3077:
3074:
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3069:
3067:
3064:
3062:
3059:
3057:
3054:
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3051:
3036:
3033:
3031:
3028:
3027:
3025:
3021:
3014:
3013:
3009:
3007:
3006:
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3000:
2999:
2995:
2993:
2992:
2988:
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2974:
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2966:
2964:
2960:
2954:
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2944:
2941:
2939:
2936:
2934:
2931:
2930:
2928:
2924:
2919:
2909:
2908:Maurice Ravel
2906:
2904:
2901:
2899:
2896:
2894:
2891:
2890:
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2880:
2873:
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2859:
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2838:
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2820:
2817:
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2810:
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2805:
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2800:
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2786:
2782:
2775:
2774:
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2767:
2766:
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2759:
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2754:
2753:
2751:
2747:
2740:
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2735:
2732:
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2727:
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2723:
2719:
2716:
2715:
2711:
2710:
2708:
2704:
2693:
2692:
2688:
2685:
2684:
2680:
2677:
2676:
2672:
2671:
2669:
2665:
2654:
2651:
2647:
2646:
2642:
2640:
2639:
2635:
2634:
2632:
2629:
2626:
2625:
2621:
2617:
2616:
2612:
2610:
2609:
2605:
2603:
2602:
2598:
2596:
2595:
2591:
2589:
2588:
2584:
2582:
2581:
2577:
2576:
2574:
2571:
2568:
2567:
2563:
2560:
2559:
2555:
2551:
2550:
2546:
2545:
2543:
2542:
2538:
2535:
2534:
2530:
2527:
2526:
2522:
2519:
2518:
2514:
2511:
2510:
2509:Pour le piano
2506:
2503:
2502:
2498:
2495:
2494:
2490:
2487:
2486:
2482:
2481:
2479:
2475:
2472:
2468:
2461:
2458:(1915–1917):
2457:
2454:
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2449:
2445:
2442:
2439:
2436:
2433:
2430:
2427:
2426:
2424:
2420:
2409:
2406:
2403:
2400:
2397:
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2379:
2372:
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2301:
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2259:
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2253:
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2240:
2233:
2228:
2226:
2221:
2219:
2214:
2213:
2210:
2203:
2200:
2197:
2194:
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2185:
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2180:
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2167:
2163:
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2020:
2014:
2012:
2010:
2006:
2001:
1994:
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1984:
1973:
1969:
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1948:
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1933:
1927:
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1850:
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1840:
1825:
1824:
1817:
1814:
1802:
1798:
1797:"G. Hartmann"
1791:
1788:
1783:
1781:0-521-31446-1
1777:
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1644:0-7100-7148-5
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1568:
1564:
1563:Erato Disques
1560:
1556:
1550:
1547:
1542:
1536:
1532:
1529:. Cambridge:
1528:
1524:
1520:
1514:
1511:
1506:
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1496:
1495:Amadeus Press
1493:. Milwaukee:
1492:
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1204:Maurice Ravel
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894:
891:
889:("Festivals")
888:
885:
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878:
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867:
865:
841:
840:
818:
811:
806:
805:double basses
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632:dancing. The
631:
627:
622:
619:
615:
611:
605:
603:
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595:
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586:
585:orchestration
580:
577:
576:
571:
566:
562:
559:conducted by
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427:
424:paintings by
423:
422:impressionist
419:
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403:
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398:YsaĂże Quartet
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2488:(1888, 1891)
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2460:Cello Sonata
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2274:(1893–1902)
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2148:the original
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2080:. Retrieved
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1862:(1): 24–37.
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1615:Valéry, Paul
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1426:. Retrieved
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1332:. Retrieved
1277:. Retrieved
1263:DeVoto, Mark
1223:
1211:
1208:Raoul Bardac
1201:
1198:Arrangements
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2791:Emma Bardac
2749:Other vocal
2741:(1891–1904)
2733:(1887–1889)
2725:(1885–1887)
2678:(1886–1889)
2638:Brouillards
2561:(1906–1908)
2504:(1890–1905)
2410:(1901-1911)
2404:(1909–1910)
2398:(1889–1890)
2373:(1905–1912)
2365:(1903–1905)
2357:(1897–1899)
2322:(1912–1913)
2314:(1911–1912)
2295:(1908–1917)
2287:(1902–1911)
2266:(1890–1892)
2019:"Nocturnes"
1744:"Nocturnes"
1567:Kent Nagano
1220:Emil Gilels
1067:The title,
943:LĂ©on Vallas
791:2nd violins
677:cor anglais
630:Loie Fuller
497:avant-garde
278:LĂ©on Vallas
267:Composition
123:(publisher)
3050:Categories
2977:Jeux d'eau
2926:Techniques
2429:Piano Trio
2338:Orchestral
2031:3 February
1977:2022-11-23
1806:29 October
1753:11 October
1721:27 October
1633:. London:
1367:27 October
1334:27 October
1279:27 October
1230:References
895:("Sirens")
883:("Clouds")
864:media help
751:snare drum
734:Percussion
568:review by
323:Debussy's
184:("Clouds")
138:1 & 2)
117:Dedication
3071:Nocturnes
3015:(Debussy)
2998:Nocturnes
2714:Beau soir
2450:for flute
2354:Nocturnes
2187:Nocturnes
2082:8 January
1937:8 January
1886:Nocturnes
1830:8 January
1661:(1979) .
1451:(1978) .
1428:7 January
1145:Battersea
1069:Nocturnes
931:Parallel
905:Nocturnes
873:movements
721:trombones
683:clarinets
654:Woodwinds
634:Nocturnes
626:Nocturnes
618:Nocturnes
614:Nocturnes
538:Nocturnes
493:Nocturnes
485:Nocturnes
478:Nocturnes
461:Nocturnes
443:Nocturnes
369:, called
332:Fantaisie
326:Fantaisie
312:symbolist
306:entitled
294:Nocturnes
282:Nocturnes
263:, 1890).
249:movements
230:Nocturnes
216:Orchestra
174:Movements
149:Published
128:Performed
88:Nocturnes
61:Catalogue
32:Nocturnes
3012:Préludes
2837:Category
2631:Préludes
2573:Préludes
2517:Estampes
2170:16400183
1617:(1933).
1557:(1995).
1521:(2003).
1081:Whistler
1077:nocturne
714:trumpets
689:bassoons
510:—
426:Whistler
336:oratorio
290:triptych
243:) is an
166:Duration
101:Composed
92:Whistler
72:Based on
2784:Related
2525:Masques
2422:Chamber
2202:YouTube
2196:YouTube
1972:LA Phil
1839:Comœdia
1795:IMSLP.
1385:Debussy
1046:Sirènes
893:Sirènes
787:violins
773:Strings
746:cymbals
739:timpani
664:piccolo
602:timbres
589:Sirènes
572:in the
565:Sirènes
515:Comœdia
499:views:
434:Prélude
377:Prélude
210:Scoring
196:Sirènes
106: (
2991:La mer
2886:People
2812:crater
2793:(wife)
2776:(1911)
2768:(1909)
2760:(1889)
2717:(1880)
2694:(1915)
2686:(1914)
2655:(1915)
2653:Études
2627:(1910)
2580:Voiles
2569:(1909)
2541:Images
2536:(1904)
2528:(1904)
2520:(1903)
2496:(1890)
2462:(1915)
2452:(1913)
2448:Syrinx
2443:(1904)
2437:(1893)
2431:(1879)
2392:(1884)
2370:Images
2362:La mer
2349:(1894)
2330:(1913)
2311:Khamma
2303:Ballet
2168:
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2073:
1928:
1876:746557
1874:
1778:
1675:
1641:
1537:
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1465:
1419:
1392:
1161:Bognor
1085:Sirens
1057:Sirens
914:Nuages
881:Nuages
839:Nuages
810:
800:cellos
795:violas
760:Voices
660:flutes
549:Nuages
518:, 1910
359:El Cid
200:Sirens
182:Nuages
3023:Other
2706:Songs
2470:Piano
2255:Opera
2026:IMSLP
2022:(PDF)
1872:JSTOR
1270:(PDF)
1224:FĂŞtes
1212:FĂŞtes
1147:Reach
1044:III.
999:and
973:uses
971:FĂŞtes
961:FĂŞtes
923:Theme
887:FĂŞtes
819:Music
779:harps
707:horns
701:Brass
671:oboes
553:FĂŞtes
194:III.
189:FĂŞtes
112:–1899
2477:Solo
2319:Jeux
2166:OCLC
2123:ISBN
2084:2020
2071:ISBN
2033:2020
1939:2020
1926:ISBN
1832:2020
1808:2019
1776:ISBN
1755:2012
1723:2019
1673:ISBN
1639:ISBN
1535:ISBN
1499:ISBN
1463:ISBN
1430:2020
1417:ISBN
1390:ISBN
1369:2019
1362:UCLA
1336:2019
1281:2019
1206:and
959:II.
785:1st
727:tuba
716:in F
709:in F
624:The
551:and
187:II.
155:1900
136:mvts
108:1892
104:1892
1864:doi
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