AUTHORITATIVE | CURATED | First 500 words Free

• Techniques
• Opera
• Turn of the Century

On the other hand, he wrote pieces inspired by landscape: La mer, Ibéria and many ‘water pieces’ for piano. In his opera Pelléas et Mélisande both symbolism and Impressionism can be found. Symbolically, Debussy uses the Wagnerian leitmotif to represent both characters and deeper emotional states, to which definitive tags cannot be applied. Impressionistically he has to ...

• Arts & Culture
• Classical
• Modern Era

The term ‘Impressionism’ is associated in music primarily with the work of Debussy, but is also used in connection with Ravel, Stravinsky, Szymanowski and others. While Debussy did not enjoy a personal association with any of the leading Impressionists, certain analogies between his aesthetic and techniques and those of painters such as Monet, Renoir and Pissarro ...

• Major Operas
• High Romantic
• Opera

less voluptuous score which sounds, in Debussy’s apt phrase, to be ‘lit from behind’ and whose play of light and shade anticipates many of the qualities associated with Impressionism in music. As such, the work had a seminal impact on the Symbolist and Decadent artists of the 1880s and 1890s. Composed: 1877–82 Premiered: 1882, Bayreuth Libretto by ...

• Major Operas
• Opera
• Turn of the Century

which tumbles down from her window in the tower as Pelléas drowns in it beneath. Personalities | Claude Debussy | Turn of the Century | Opera Techniques | Symbolism or Impressionism ? | Turn of the Century | Opera ...

• Personalities
• Modern Era
• Opera

Century | Opera Techniques | The Sonata Principle | Classical Era | Opera Techniques | The Second Viennese School | Turn of the Century | Opera Techniques | Symbolism or Impressionism ? | Turn of the Century | Opera Techniques | Serialism | Modern Era | Opera Techniques | Expressionism | Modern Era | Opera ...

• Personalities
• Classical
• Composer
• Modern Era

the Flaxen Hair’, based on a poem about a Scottish girl. Introduction | Modern Era | Classical Personalities | Frederick Delius | Modern Era | Classical Arts & Culture | Impressionism | Modern Era | Classical ...

• Personalities
• Opera
• Turn of the Century

| Turn of the Century Personalities | Ruggero Leoncavallo | Turn of the Century | Opera Techniques | Operetta | Turn of the Century | Opera Techniques | Symbolism or Impressionism ? | Turn of the Century | Opera ...

• Personalities
• Modern Era
• Opera

with one particular style. Influence of Russian Folklore Three ballets written for impresario-producer Serge Diaghilev and his Ballets Russes are among the most important in the repertoire. Inspired by French Impressionism, both The Firebird and Petrushka are replete with Russian folklore references, yet neither critics nor fans of the day were prepared for the stylistic leap that Stravinsky took ...

• Personalities
• Classical
• Composer
• Instrumentalist
• Late Romantic

and Iberia (1906–09), composed in Paris, where Albéniz studied from 1903 with Paul Dukas (1865–1935) and D’Indy. In his masterpiece Iberia, the pyro­technics of Liszt and the exotic impressionism of Debussy are combined with Spanish dance rhythms, ingenious pianistic imitations of guitar sounds and flamenco or gypsy ornamentation. Recommended Recording: Iberia; Granados: Goyescas, Alicia de Larrocha (Decca) ...

• Personalities
• Opera
• Turn of the Century

Mélisande was once a wife of Bluebeard. Introduction | Turn of the Century | Opera Personalities | Pietro Mascagni | Turn of the Century | Opera Techniques | Symbolism or Impressionism ? | Turn of the Century | Opera ...

• Classical
• Late Romantic

The 1860s saw a number of major reorganizations in European politics. Italy became a united country under the king of (former) Piedmont-Sardinia, Victor Emmanuel II, in 1861 and its new national government tried to retain the kingdom’s liberal ideals, such as removing instances of operatic and intellectual censorship. However, Italy’s liberalism was not aspired to by other ...

• Styles & Forms
• Classical
• Modern Era

the 1918 essay Le coq et l’harlequin by the French writer Jean Cocteau. In it, Cocteau railed against not just the predictable adversary, Wagner, but also Debussyan Impressionism and the Russian ‘primitivism’ of The Rite of Spring. Cocteau singled one composer out for particular praise, the maverick Satie, with whom he had collaborated the previous year ...

• Styles & Forms
• Opera
• Turn of the Century

Century | Opera Techniques | Operetta | Turn of the Century | Opera Techniques | The Second Viennese School | Turn of the Century | Opera Techniques | Symbolism or Impressionism ? | Turn of the Century | Opera ...

• Techniques
• Opera
• Turn of the Century

but her confidantes, and the various entertainments that pervade the opera, considerably heighten the oriental setting with devices similar to those employed in Hérodiade. Techniques | Symbolism or Impressionism ? | Turn of the Century | Opera ...

• Arts & Culture
• Classical
• Modern Era

, saw-mills and iron-works. At the outset of his career he had declared that ‘I refuse to submit solely to sounds that have been heard before’. Arts & Culture | Impressionism | Modern Era | Classical ...