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Title : "'He was a very, very strange man'... With his piercing eyes and jutting forehead, he could make a rough first impression—like 'a proud Calabrian bandit'..."
link : "'He was a very, very strange man'... With his piercing eyes and jutting forehead, he could make a rough first impression—like 'a proud Calabrian bandit'..."
"'He was a very, very strange man'... With his piercing eyes and jutting forehead, he could make a rough first impression—like 'a proud Calabrian bandit'..."
"... 'withdrawn, unsociable, taciturn, skittish, susceptible, distant, shy.' He was said to be 'catlike and solitary.' He 'lived in a kind of haughty misanthropy, behind a rampart of irony.' He had a tendency toward mendacity in his professional and personal relationships. He was conscious enough of his limitations: 'Those around me persist in not understanding that I have never been able to live in a real world of people and things.'... When confronted with the fundamentals of harmony and form, he asked why any systems were needed... Familiar chords appeared in unfamiliar sequences. Melodies followed the contours of ancient or exotic scales. Forms dissolved into textures and moods. An academic evaluation accused him of indulging in Impressionism—a label that stuck.... ... Debussy took up a second career, as a music critic, delivering a stream of prickly, contrarian opinions that seemed almost designed to increase his isolation. Beethoven wrote badly for the piano, he proclaimed: 'With a few exceptions, his works should have been allowed to rest.' Wagner was a literary genius but no musician. Gluck was pompous and artificial. There was a method to this crankiness: Debussy was attacking the tendency to worship the past at the expense of the present. In a later interview, he said that he actually admired Beethoven and Wagner, but refused to 'admire them uncritically, just because people have told me that they are masters.'"From "The Velvet Revolution of Claude Debussy/How a reclusive Frenchman created some of the most radical, beautiful music of the modern era" (The New Yorker).
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"... 'withdrawn, unsociable, taciturn, skittish, susceptible, distant, shy.' He was said to be 'catlike and solitary.' He 'lived in a kind of haughty misanthropy, behind a rampart of irony.' He had a tendency toward mendacity in his professional and personal relationships. He was conscious enough of his limitations: 'Those around me persist in not understanding that I have never been able to live in a real world of people and things.'... When confronted with the fundamentals of harmony and form, he asked why any systems were needed... Familiar chords appeared in unfamiliar sequences. Melodies followed the contours of ancient or exotic scales. Forms dissolved into textures and moods. An academic evaluation accused him of indulging in Impressionism—a label that stuck.... ... Debussy took up a second career, as a music critic, delivering a stream of prickly, contrarian opinions that seemed almost designed to increase his isolation. Beethoven wrote badly for the piano, he proclaimed: 'With a few exceptions, his works should have been allowed to rest.' Wagner was a literary genius but no musician. Gluck was pompous and artificial. There was a method to this crankiness: Debussy was attacking the tendency to worship the past at the expense of the present. In a later interview, he said that he actually admired Beethoven and Wagner, but refused to 'admire them uncritically, just because people have told me that they are masters.'"
From "The Velvet Revolution of Claude Debussy/How a reclusive Frenchman created some of the most radical, beautiful music of the modern era" (The New Yorker).
From "The Velvet Revolution of Claude Debussy/How a reclusive Frenchman created some of the most radical, beautiful music of the modern era" (The New Yorker).
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