Full History Of Claude Debussy In Timeline From 1900

1900: Formation of Les Apaches and premiere of Nocturnes

Around 1900, an informal group of innovative young artists, poets, critics, and musicians, calling themselves "Les Apaches," began meeting in Paris. In the same year, the first two of Debussy's three orchestral "Nocturnes" premiered.

1901: Sarabande for Piano

In 1901, Debussy composed the Sarabande, which was included in his collection Pour le piano. This piece reflects his close connection to Erik Satie, as it shows that Debussy was familiar with Satie's Trois Sarabandes before their publication.

1901: Debussy's Work as Music Critic

Throughout 1901, Debussy, using the pseudonym "Monsieur Croche," worked as a music critic for "La Revue Blanche," expressing strong views on composers, institutions, conductors, musical politics, and audiences.

January 1902: Rehearsals for Pelléas et Mélisande

Rehearsals for the opening of Debussy's opera "Pelléas et Mélisande" commenced at the Opéra-Comique in January 1902.

April 1902: Premiere of Pelléas et Mélisande

Debussy's opera "Pelléas et Mélisande" premiered on April 30, 1902, at the Opéra-Comique, quickly gaining success and sparking much discussion.

1902: Premiere of Pelléas et Mélisande

Debussy's opera, Pelléas et Mélisande, premiered in 1902. The opera, composed in a heightened recitative style, was considered a key work of the 20th century for its harmonic qualities and transparent instrumental texture, influencing composers like Stravinsky and Puccini.

1903: Composition of La mer

Debussy, seeking an alternative to the classical symphony, composed "La mer" ("The Sea"), his "symphonic sketches", between 1903 and 1905.

1903: Publication of Estampes for Piano

In 1903, Debussy published Estampes for Piano. This work gave impressions of exotic locations and showcased echoes of gamelan music in its pentatonic structure.

1903: Debussy Awarded Chevalier of the Légion d'honneur

In 1903, Debussy received public recognition for his stature by being appointed a Chevalier of the Légion d'honneur.

1903: Republication of Ariettes oubliées

In 1903, Debussy's "Ariettes oubliées" was republished and achieved success after initially making little impact.

1903: Debussy's perspective on Wagner

In 1903, Debussy, while acknowledging Wagner's influence, expressed his belief that imitating Wagner's style was not the way forward.

July 1904: Debussy Leaves Lilly for Emma Bardac

After sending his wife, Lilly, to her family home in July 1904, Debussy left with Emma Bardac, marking a turning point in his personal life that led to scandal.

1904: Debussy Records Piano Accompaniments for Mary Garden

In 1904, Debussy recorded piano accompaniments for Mary Garden for the Compagnie française du Gramophone, featuring four of his songs.

1904: Publication of Full Orchestral Score of Pelléas et Mélisande

The full orchestral score for Debussy's "Pelléas et Mélisande" was published in 1904.

May 1905: Divorce and Move to England

In May 1905, Debussy divorced his first wife. Facing a hostile environment in Paris, he moved to England with Emma Bardac, who was pregnant with his child. They spent July and August in Eastbourne, where Debussy finalized his symphonic sketches "La mer" and officially celebrated his divorce on August 2nd.

October 1905: Premiere of "La mer" and Birth of Daughter

October 1905 was a significant month for Debussy. His orchestral work "La mer" premiered in Paris, receiving mixed reviews. Some lauded it, while others, like critic Pierre Lalo, found it lacking. This same month, Debussy's only child, Claude-Emma, was born. Affectionately called "Chouchou," she became an inspiration for his music, notably the "Children's Corner" suite.

1905: Composition of Images

Claude Debussy composed "Images" for orchestra between 1905 and 1912.

1905: Premiere of La Mer

Debussy premiered his symphony, La Mer, in 1905. This three-part symphony, influenced by César Franck's work, explored quasi-symphonic forms and showcased Debussy's mastery of orchestral color and sonority.

1905: Release of "Reflets dans l'eau"

Debussy released his piano piece "Reflets dans l'eau" (Reflections in the Water) in 1905. This piece, evocative of nature, exemplifies the characteristics that led to the association of Debussy's music with Impressionism.

1905: Minstrels at Eastbourne Inspire Debussy

In 1905, Debussy was inspired by the performances of minstrels in Eastbourne. This experience would later inform some of the themes and subjects explored in his later piano pieces.

1907: Bartók's First Encounter with Debussy's Music

In 1907, Béla Bartók was introduced to Debussy's music. He would later acknowledge Debussy's significant contribution to music, particularly his innovative approach to harmony.

1908: Marriage to Emma Bardac and Professional Recognition

Debussy and Emma Bardac married in 1908, beginning a complex relationship that lasted until his death. The year also saw professional successes: Debussy was invited by Gabriel Fauré to join the Conservatoire's governing council, a mark of his rising stature in the music world.

1908: Parody of Wagner in Golliwogg's Cakewalk

Debussy composed Golliwogg's Cakewalk, part of the Children's Corner suite, in 1908. Notably, it includes a parody of music from the introduction to Wagner's Tristan, showcasing Debussy's evolving musical perspective.

April 1909: London Successes and Debussy's Diagnosis

Debussy enjoyed further success in London in April 1909 when he conducted two of his works, "Prélude à l'après-midi d'un faune" and "Nocturnes," at the Queen's Hall. In May, he attended the first London production of his opera "Pelléas et Mélisande" at Covent Garden. Tragically, Debussy was also diagnosed with colorectal cancer this year, a disease that would eventually claim his life.

1909: Publication of the First Book of Préludes

Debussy released his first book of Préludes for piano in 1909. These short pieces depicted a diverse range of subjects, showcasing Debussy's ability to capture evocative imagery through music.

1909: The Little Nigar

Debussy's interest in popular music of the time led him to compose pieces like "The Little Nigar" in 1909. This piano piece, incorporating ragtime elements, exemplified his exploration of contemporary musical trends.

1910: International Recognition and Budapest Visit

1910 saw Debussy's work gain international traction. Gustav Mahler, the renowned conductor, led performances of "Nocturnes" and "Prélude à l'après-midi d'un faune" in New York. During a visit to Budapest, Debussy noted that his compositions were better known there than in his home city of Paris.

1910: La Danse de Puck

Debussy composed "La Danse de Puck" in 1910, which was included in the first book of his Préludes for piano. This piece showcases his engagement with Shakespeare's works for musical inspiration.

1910: Release of "Les Sons et les parfums tournent dans l'air du soir"

In 1910, Debussy released his piano piece "Les Sons et les parfums tournent dans l'air du soir" (Sounds and Perfumes Swirl in the Evening Air). This piece, with its evocative title and atmospheric qualities, further fueled the connection between Debussy's music and Impressionism.

1911: Publication of the Second Book of Préludes

Debussy published his second book of Préludes for piano in 1911. These pieces further explored his interest in depicting a variety of subjects through music, ranging from everyday scenes to evocative atmospheres.

1911: Debussy Gives Interview on Nature

Debussy shared his perspective on nature in a 1911 interview with Henry Malherbe, expressing views that could be interpreted as pantheistic.

1911: Premiere of Le Martyre de saint Sébastien

Debussy's five-act musical play Le Martyre de saint Sébastien, with text by Gabriele D'Annunzio, premiered in 1911. While not initially successful, its music is now often performed in concert adaptations or as an orchestral suite.

1911: Publication of Satie's Trois Sarabandes

Erik Satie's Trois Sarabandes were published in 1911. Debussy's earlier composition, "Sarabande" (1901), demonstrated his prior knowledge of these works, highlighting their close friendship.

1912: Composition of Images

Claude Debussy composed "Images" for orchestra between 1905 and 1912.

1912: Khamma Ballet Left Incomplete

Debussy's ballet Khamma was left with incomplete orchestration in 1912. Charles Koechlin later completed the orchestration.

1912: Completion of Images for Orchestra

In 1912, Debussy finished his orchestral work, Images. The piece stands as a testament to his ability to blend traditional folk elements with his distinct, innovative style.

1912: Comment on Paul Dukas' Opera

In 1912, Debussy remarked to his publisher about Paul Dukas' opera, Ariane et Barbe-bleue, acknowledging its brilliance while also suggesting it didn't quite represent the French style he envisioned.

1912: Commission for Ballet "Jeux"

In 1912, Sergei Diaghilev, a prominent figure in the ballet world, commissioned Debussy to compose the score for a new ballet, "Jeux." This marked another milestone in Debussy's career, venturing into ballet composition.

March 1913: Premiere of "Jeux" Overshadowed by Stravinsky

March 1913 saw the premiere of Debussy's ballet "Jeux." Unfortunately, its timing proved disadvantageous. Just two weeks later, Diaghilev also debuted Igor Stravinsky's groundbreaking "The Rite of Spring." Stravinsky's work caused a sensation, dominating discussions in musical circles, and ultimately overshadowing Debussy's "Jeux" and Gabriel Fauré's "Pénélope," which premiered a week earlier.

1913: Debussy Creates Piano Rolls for Welte-Mignon

Debussy made a set of piano rolls for the Welte-Mignon company in 1913, containing fourteen of his pieces.

1913: Release of "Brouillards"

Debussy released his piano piece "Brouillards" (Mists) in 1913. This work, like others with titles referencing natural phenomena, contributed to the ongoing debate about Impressionism in Debussy's music.

1913: Premiere of Jeux

Debussy's ballet score, Jeux, premiered in 1913. Despite its initial failure as a ballet due to a perceived banal scenario, the score was later recognized for its innovative approach to musical continuity and discontinuity, marking a shift in Debussy's style from the whole-tone to the octatonic scale.

1913: Hommage à S. Pickwick Esq. P.P.M.P.C.

Debussy's second book of Préludes for piano, released in 1913, included "Hommage à S. Pickwick Esq. P.P.M.P.C." This piece was inspired by Charles Dickens' work, demonstrating Debussy's diverse literary influences.

1913: La boîte à joujoux Ballet Left Incomplete

The orchestration for Debussy's ballet La boîte à joujoux was left unfinished in 1913. André Caplet later completed the orchestration.

1914: Debussy Begins Work on Six Sonatas

In 1914, Debussy embarked on a project to compose six sonatas for various instruments. Unfortunately, his illness prevented him from completing the full set.

1914: Editing Chopin's Music

In 1914, Debussy took on the task of overseeing the editing of Chopin's music for a new scholarly edition by publisher A. Durand & fils.

1915: Publication of En blanc et noir and Études

Debussy published En blanc et noir, a sombre work for two pianos reflecting the war, and Études for piano, a collection exploring abstract intervals and piano sonorities, in 1915.

1915: Patriotic Views on Music During WWI

During the First World War in 1915, Debussy expressed strong patriotic views regarding music. He criticized what he perceived as excessive foreign influences in French music and called for a return to a purely French tradition.

1915: Colostomy Surgery and Conflict with Saint-Saëns

In 1915, Debussy underwent one of the first colostomy surgeries, a procedure that provided temporary relief but also brought frustration. He faced additional challenges this year due to composer Camille Saint-Saëns, who strongly criticized Debussy's work "En blanc et noir" and opposed his entry into the Institut de France. Despite Saint-Saëns' efforts, Debussy never became a member of the prestigious institution.

September 1917: Debussy's Final Concert

On September 14, 1917, Debussy gave his last concert performance, marking the end of his public appearances as a performer. His declining health made it increasingly difficult to continue.

1917: Completion of Sonata for Violin and Piano

Debussy completed his Sonata for Violin and Piano in 1917. This three-movement piece, more diatonic in nature than some of his other late works, marked his last completed composition.

March 1918: Death of Claude Debussy

In March 1918, French composer Claude Debussy, known for his innovative compositions and rejection of the term "Impressionist," passed away.

March 1918: Debussy's Death and Burial

On March 25, 1918, Debussy died at his home in Paris. The ongoing First World War, with Paris under bombardment, prevented a public funeral with full honors. His funeral procession traveled through deserted streets to a temporary grave at Père Lachaise Cemetery under the barrage of German artillery. The following year, his body was moved to the tranquil Passy Cemetery, fulfilling his wish to be laid to rest "among the trees and the birds." His wife and daughter were later buried beside him.

1918: Cocteau's Criticism of Debussy's Style

In 1918, Jean Cocteau, a prominent figure in the French artistic scene, published a critique of Debussy's musical style. Cocteau, advocating for a more stark and modern sound, expressed a desire to move away from the dreamlike and evocative qualities often found in Debussy's compositions.

1918: Debussy Becomes Bedridden

In early 1918, Debussy's health deteriorated to the point where he became bedridden, his ability to compose and perform severely limited by his illness.

1919: Death of Claude-Emma Debussy

Tragically, Claude-Emma, Debussy's daughter, died in 1919, a year after her father. She was a victim of the diphtheria epidemic.

1920: Stravinsky's Memorial to Debussy

Igor Stravinsky composed the "Symphonies of Wind Instruments" in 1920 as a tribute to Debussy following his death. Although Stravinsky held mixed opinions about Debussy's work, he recognized his importance in the world of music.

1921: Janáček's Study of Debussy's Style

Leoš Janáček delved into studying Debussy's musical style while composing his opera Káťa Kabanová in 1921. He was particularly interested in Debussy's use of whole-tone scales and his approach to integrating words and music in "Pelléas et Mélisande."

1983: Roy Howat Publishes Book on Debussy's Mathematical Structures

In 1983, pianist and scholar Roy Howat published a book arguing that some of Debussy's compositions are structured using mathematical models, including the golden ratio and Fibonacci sequence.

1994: John Adams' Orchestration of Debussy's Baudelaire Songs

In 1994, John Adams orchestrated four of Debussy's Baudelaire songs from Le Livre de Baudelaire.

1994: Simon Trezise Publishes Book on Debussy's La Mer

Simon Trezise published his book Debussy: La Mer in 1994. In it, he discussed the evidence of mathematical structures in Debussy's music, particularly in La Mer, while acknowledging the lack of direct evidence that Debussy consciously employed these proportions.