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Debussy, Baudelaire, and Poe: Fascination of the Fantastic
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14490 |
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Section : |
THE ARTS
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3 / 1988 |
2,207 Words |
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Tom Pniewski
Tom Pniewski is a musicologist at Hunter College in New York. |
In the spring of 1918, during the last months of World War I, the German shelling of Paris took a new and terrifying turn when "Big Bertha," a huge gun capable of firing shells more than a hunger miles, was brought into action. Every twent minutes, with grim regularity, Big Bertha fired its projectiles; it was impossible to tell which house, church, or scholl would be hit next.
A small funeral procession--thirty people--made its way up the hill of Montmartre to the Pére-Lachaise Cemetery. Most of the mourners had scattered along the way, for fear of the shelling. Only one brief speech was given before the coffin was lowered. Looking at the inscriptions on the wreaths, a passerby said "It seems to have been a musician."
Darkened by Pain
A sad ending to a life that had been darkened by pain, scandal, self-imposed isolation, and psychological torment--but also brilliantly illumined by musical genius of the highest order. Claude Debussy, the most French of French musicians, brought the music of his country and the world into the twentieth century.
Born near Paris in 1862, Debussy was one of the most original and adventurous musicians who ever lived. Unlike many musical adventurers, however, he was a consummate master. He wrote for every instrumental and vocal combination, his approach differing radically from that of all his predecessors.
Debussy's success liberated his countrymen from their obsession with German music, with Beethoven and Wagner, and
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