Hyperion Records

Debussy, Claude (1862-1918)  

Claude Debussy

born: 22 August 1862
died: 25 March 1918
country: France

EnglishFrançaisDeutsch
Claude-Achille Debussy was born above a china shop owned by his father. The date was 22 August 1862; the place was Saint-Germain-en-Laye—some twenty kilometres from Paris. There were no musicians in the family. His father Manuel had been in the military, and married a seamstress, Victorine Manoury. There was an uncle who moved to Manchester in 1872 and who taught music, but Debussy never met him or his three English cousins. As a boy he was called Claude. During his adolescence he switched to Achille, even going as far as signing his name Achille de Bussy. When he was thirty he reverted to Claude, and stuck with it.

His childhood was troubled and Debussy himself never spoke of it, while admitting that he hadn’t forgotten anything. When Claude was five the family moved to Paris, where his father became a travelling salesman. After the outbreak of the Franco-Prussian War in 1870 Manuel joined the National Guard. When the Commune was defeated he was sentenced to four years in prison, but only served one—an incident that was covered up in Debussy’s lifetime. His mother didn’t care much for bringing up children, and left the job mostly to her husband’s sister, Clémentine. Claude in fact never went to school—something he never quite overcame. His spelling remained faulty until the end.

The family moved house four times in five years, and they were always broke. Manuel Debussy (‘the old vagabond’, as his son later called him) did occasionally take his son to hear the operettas of Offenbach (which Debussy loved all his life) but decided that Claude was to be a sailor. In 1870 a pregnant Victorine took her children to Cannes where they stayed with Clémentine and her friend, the banker Achille-Antoine Arosa. It was there that Debussy received his first piano lessons, paid for by Arosa, with a certain Jean Cerutti (who seems to have been more of a violinist than a pianist). They returned to Paris the following year, in 1871, and took a small apartment in the Rue Pigalle. Manuel, while in a prison camp, made the acquaintance of Charles de Sivry, whose mother, Antoinette Mauté, was a piano teacher from whom Debussy took lessons. Although her claim to be a student of Chopin was probably far-fetched, Debussy’s did acquire his love for Chopin’s music from her. More importantly, perhaps, she was the mother-in-law of the poet Paul Verlaine, who wrote La bonne chanson for her daughter, Mathilde. She looked after her young pupil with great affection—something which Debussy later in life remembered with gratitude.

It was after only a few months of her tuition, at the age of eleven, that the gifted boy took the entrance exam at the Paris Conservatoire, and passed. His classmates later recalled that when he turned up for it he was wearing a sailor’s cap with a tassel. Debussy spent the next eleven years trying to be himself within an institution that didn’t want him to be anything of the sort. He started off by intending to prove himself as a pianist, but this didn’t work out as planned, much to the chagrin of his parents. He probably had a very personal idea of how the classical repertoire should be played. We know that Ambroise Thomas, the Director, very much disliked his interpretation of the F minor Prelude from Book II of Bach’s Well-Tempered Clavier, saying that he had the presumptuousness to consider it a piece of music rather than just a simple exercise. His teacher, Marmontel, appreciated his gifts and predicted a great future for the boy who had ‘a true temperament of an artist’. He won certificates for playing Chopin’s Piano Concerto No 2 before he was twelve, and for one of the Ballades a year later. But despite his attempts, he never received a Premier Prix in piano. Perhaps his aversion to competitions accounted for his lack of success.

In the harmony class of Émile Durand, which he entered when he was fifteen, things were not much better. When Debussy refused to follow the rules, Durand would purposely keep his homework for the end of the class and then ravage it with corrections. There’s a story that once, when the teacher was getting ready to leave the room, Debussy went to the piano and brought forth cascades of his favourite chords, much to the delight of the students. Durand slammed the lid on his fingers. Twenty-five years later Debussy, who by then had revolutionized the language of music, admitted that he ‘didn’t do much in harmony class’.

He did finally get a Premier Prix in piano accompaniment and this allowed him to enter the composition class of Ernest Guiraud when he was eighteen. However, two other events from that same year were important to his formation. The first was an invitation from Nadezhda von Meck, the Russian businesswoman most famous for her friendship with and patronage of Tchaikovsky, to spend the summer with her family as piano teacher and accompanist. This he did three years in a row, forming a great attachment to them (and almost marrying one of the daughters). Madame von Meck called him ‘my little pianist’ and nicknamed him Bussyk, sending one of his compositions to Tchaikovsky for his opinion. (He found it very nice but lacking in unity.) Debussy travelled all over Europe with them, and of course stayed in Moscow where he became familiar with the Russian School. All of this opened his eyes to the wider world.

The second event was his meeting with the amateur singer Blanche-Adélaïde Vasnier—a married woman thirteen years his senior. She attended a singing class where Debussy was the accompanist—a job he had taken on to earn some money. He soon became a daily visitor to the Vasnier household where a room and piano were put at his disposal, living there more than with his parents. And of course he fell desperately in love. His first important compositions were the songs he dedicated to Madame Vasnier and with which he made his debut as a composer.

Debussy got along well with his composition professor, who socialized with his students outside of class, even playing billiards with them. In 1883 he competed for the famous Prix de Rome but was unsuccessful. He tried again the following year, and while waiting for the results on a bridge overlooking the Seine, a friend tapped him on the shoulder and said: ‘You got the prize!’. Debussy writes that at this moment ‘… my heart sank! I saw clearly the irritations and worries the smallest official position brings in its wake.’ As Jean Barraqué wrote in his excellent biography of the composer: ‘Every hindrance, every obligation was not only intolerable to him but undermined his vital forces. His pauses, his lazing around, his dreams—all were an integral part of his creativity. He wanted to decide at each instant what to do with his life.’

His years at the Villa Médicis in Rome, where the winners of the prize were sent, were for him a drag. He hated the place. He managed to escape several times (once meeting Mme Vanier in Dieppe without her husband’s knowledge) and finally left before the three years were up. Back in Paris, he was given a cold reception by the Vasniers (remarkably the husband had stayed a close friend and confidant throughout the affair with his wife), no doubt partly due to their disapproval of his leaving Rome. The subsequent ‘période bohème’ saw him frequenting cafés, travelling to Bayreuth to hear the operas of Wagner (paid for by a friend), hearing Javanese gamelan music at the Exposition Universelle in 1889, and frequenting the literary milieu—especially that of the symbolist poets. He didn’t get too involved with musical establishments. When asked to be a witness at a friend’s wedding, he wrote his profession in the register as ‘gardener’.

Compositions now started to be published. It is interesting to see that, although a pianist, the greatest advances in his early works were in the field of song (as seen in his beautiful Ariettes oubliées, for instance, to poems by Verlaine). They are much more advanced than his piano pieces of the same period. The latter include the Deux Arabesques, Danse, and the Suite bergamasque.

from notes by Angela Hewitt © 2012

Albums
'Debussy & Ravel: String Quartets' (CDA67759)
Debussy & Ravel: String Quartets
Buy by post £10.50 CDA67759 
'Debussy, Fauré & Ravel: Piano Trios' (CDA67114)
Debussy, Fauré & Ravel: Piano Trios
Buy by post £10.50 CDA67114  Studio Master FLAC & ALAC downloads available
'Debussy, Ravel & Fauré: Piano Trios' (CDA30029)
Debussy, Ravel & Fauré: Piano Trios
Buy by post £8.50 CDA30029  Hyperion 30th Anniversary series   Studio Master FLAC & ALAC downloads available
'Debussy: Piano Music' (CDS44061/3)
Debussy: Piano Music
Buy by post £41.97 (ARCHIVE SERVICE) CDS44061/3  3CDs Boxed set (at a special price) — Archive Service  
'Debussy: Préludes' (CDA67530)
Debussy: Préludes
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'Debussy: Preludes Book 1' (CDA66416)
Debussy: Preludes Book 1
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'Debussy: Preludes Book 2' (CDA66487)
Debussy: Preludes Book 2
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'Debussy: Solo Piano Music' (CDA67898)
Debussy: Solo Piano Music
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'Debussy: Songs, Vol. 1' (CDA67357)
Debussy: Songs, Vol. 1
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'Debussy: Songs, Vol. 2' (CDA67883)
Debussy: Songs, Vol. 2
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'Debussy: Suite bergamasque, Estampes, Children's Corner & Pour le piano' (CDA66495)
Debussy: Suite bergamasque, Estampes, Children's Corner & Pour le piano
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'Debussy: The Complete Music for Two Pianos' (CDH55014)
Debussy: The Complete Music for Two Pianos
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'Arabesque' (CDH55129)
Arabesque
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'Caprices & Fantasies' (CDH55130)
Caprices & Fantasies
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'Casals Encores' (CDA67831)
Casals Encores
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'Fauré, Debussy & Ravel: Piano Trios' (CDA30029)
Fauré, Debussy & Ravel: Piano Trios
Buy by post £8.50 CDA30029  Hyperion 30th Anniversary series   Studio Master FLAC & ALAC downloads available
'Fauré, Ravel & Debussy: Piano Trios' (CDA67114)
Fauré, Ravel & Debussy: Piano Trios
Buy by post £10.50 CDA67114  Studio Master FLAC & ALAC downloads available
'For Children' (CDH55194)
For Children
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'La Procession' (CDA66248)
La Procession
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'Ravel & Debussy: String Quartets' (CDA67759)
Ravel & Debussy: String Quartets
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'Ravel, Debussy & Fauré: Piano Trios' (CDA67114)
Ravel, Debussy & Fauré: Piano Trios
Buy by post £10.50 CDA67114  Studio Master FLAC & ALAC downloads available
'Ravel, Fauré & Debussy: Piano Trios' (CDA30029)
Ravel, Fauré & Debussy: Piano Trios
Buy by post £8.50 CDA30029  Hyperion 30th Anniversary series   Studio Master FLAC & ALAC downloads available
'Satie: Parade & other works' (CDH55176)
Satie: Parade & other works
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'Stephen Hough in recital' (CDA67686)
Stephen Hough in recital
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'Stephen Hough's French Album' (CDA67890)
Stephen Hough's French Album
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'Stephen Hough's Spanish Album' (CDA67565)
Stephen Hough's Spanish Album
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'The Sea' (CDA66165)
The Sea
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'The Light Blues' Tour de France' (A66059)
The Light Blues' Tour de France
Buy by post £13.99 (ARCHIVE SERVICE) A66059  Archive Service (LP transfer)   This album is not available for download
'The Essential Hyperion, Vol. 1' (HYP12)
The Essential Hyperion, Vol. 1
HYP12  Super-budget price sampler — Deleted  
'The Essential Hyperion, Vol. 2' (HYP20)
The Essential Hyperion, Vol. 2
HYP20  2CDs Super-budget price sampler — Deleted  
'Debussy & Ravel: String Quartets' (CDH88018)
Debussy & Ravel: String Quartets
CDH88018  Helios (Hyperion's budget label) — Rights no longer controlled by Hyperion  
On other labels
'A Matthay Miscellany: Rare and unissued recordings' (APR6014)
A Matthay Miscellany: Rare and unissued recordings
APR6014  2CDs for the price of 1 June 2014 Release  
'Alfred Cortot – The Late Recordings, Vol. 1 – 1947 Schumann, Chopin & Debussy' (APR5571)
Alfred Cortot – The Late Recordings, Vol. 1 – 1947 Schumann, Chopin & Debussy
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'Alfred Cortot – The Late Recordings, Vol. 2 – Franck, 'encores' & Debussy' (APR5572)
Alfred Cortot – The Late Recordings, Vol. 2 – Franck, 'encores' & Debussy
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'Bartlett & Robertson – Selected recordings, 1927-1947' (APR6012)
Bartlett & Robertson – Selected recordings, 1927-1947
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'Eileen Joyce – The complete Parlophone & Columbia solo recordings' (APR7502)
Eileen Joyce – The complete Parlophone & Columbia solo recordings
APR7502  5CDs Download only  
'Harold Bauer – The complete recordings' (APR7302)
Harold Bauer – The complete recordings
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'Harriet Cohen – The complete solo studio recordings' (APR7304)
Harriet Cohen – The complete solo studio recordings
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'Ibert & Rouse: Flute Concertos' (CKD420)
Ibert & Rouse: Flute Concertos
CKD420  Download only  
'Irene Scharrer – The complete electric and selected acoustic recordings' (APR6010)
Irene Scharrer – The complete electric and selected acoustic recordings
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'Mahler: Symphony No 4' (CKD438)
Mahler: Symphony No 4
CKD438  Download only  
'Michael Zadora – The complete recordings' (APR6008)
Michael Zadora – The complete recordings
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'Moriz Rosenthal – The complete recordings' (APR7503)
Moriz Rosenthal – The complete recordings
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'Moura Lympany – The HMV Recordings, 1947-1952' (APR6011)
Moura Lympany – The HMV Recordings, 1947-1952
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'Myra Hess – The complete solo and concerto studio recordings' (APR7504)
Myra Hess – The complete solo and concerto studio recordings
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'Paderewski – His earliest recordings' (APR6006)
Paderewski – His earliest recordings
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'Percy Grainger – The complete 78-rpm solo recordings' (APR7501)
Percy Grainger – The complete 78-rpm solo recordings
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'Rouse & Ibert: Flute Concertos' (CKD420)
Rouse & Ibert: Flute Concertos
CKD420  Download only  
'Vladimir Horowitz – The complete solo European recordings' (APR6004)
Vladimir Horowitz – The complete solo European recordings
APR6004  2CDs for the price of 1 — Download only  
'Walter Gieseking – The complete Homocord recordings and other rarities' (APR6013)
Walter Gieseking – The complete Homocord recordings and other rarities
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'York Bowen – The complete solo 78-rpm recordings' (APR6007)
York Bowen – The complete solo 78-rpm recordings
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Alphabetical listing of all musical works
6 Studien in kanonischer Form, Op 56 (Schumann/Debussy)
Ariettes oubliées, L63 (Debussy)
Auprès de cette grotte sombre  No 2 of Trois Chansons de France, L115 (Debussy)
Ballade de Villon à s'amye  No 1 of Trois Ballades de François Villon, L126 (Debussy)
Ballade des femmes de Paris  No 3 of Trois Ballades de François Villon, L126 (Debussy)
Ballade que Villon feit à la requeste de sa mère  No 2 of Trois Ballades de François Villon, L126 (Debussy)
Brouillards: Modéré  No 1 of Préludes II, L131 (Debussy)
Bruyères: Calme  No 5 of Préludes II, L131 (Debussy)
Calmes dans le demi-jour  First line to En sourdine, No 1 of Fêtes galantes I, L86 (Debussy)
Canope: Très calme et doucement triste  No 10 of Préludes II, L131 (Debussy)
Ce qu'a vu le vent d'ouest: Animé et tumultueux  No 7 of Préludes I, L125 (Debussy)
C'est l'extase  No 1 of Ariettes oubliées, L63 (Debussy)
Chansons de Bilitis, L97 (Debussy)
Chevaux de bois  No 4 of Ariettes oubliées, L63 (Debussy)
Children's Corner, L119 (Debussy)
Cinq Poèmes de Baudelaire, L70 (Debussy)
Clair de lune  Movement 3 of Suite bergamasque, L82 (Debussy)
Clair de lune  No 3 of Fêtes galantes I, L86 (Debussy)
Cloches à travers les feuilles  No 1 of Images II, L120 (Debussy)
Cloches chrétiennes pour les matines  First line to Les angélus, L88 (Debussy)
Colloque sentimental  No 3 of Fêtes galantes II, L114 (Debussy)
Dame du ciel, régente terrienne  First line to Ballade que Villon feit à la requeste de sa mère, No 2 of Trois Ballades de François Villon, L126 (Debussy)
Dans le vieux parc solitaire et glacé  First line to Colloque sentimental, No 3 of Fêtes galantes II, L114 (Debussy)
Dans l'ennui si désolément vert  First line to De fleurs, No 3 of Proses lyriques, L90 (Debussy)
Danse sacrée et danse profane, L113 (Debussy)
Danse, L77 (Debussy)
Danseuses de Delphes: Lent et grave  No 1 of Préludes I, L125 (Debussy)
De fleurs  No 3 of Proses lyriques, L90 (Debussy)
De grève  No 2 of Proses lyriques, L90 (Debussy)
De rêve  No 1 of Proses lyriques, L90 (Debussy)
De soir  No 4 of Proses lyriques, L90 (Debussy)
Des pas sur la neige: Triste et lent  No 6 of Préludes I, L125 (Debussy)
Deux Arabesques, L74 (Debussy)
Dieu qu'il la fait bon regarder  No 1 of Trois Chansons de Charles d'Orléans, L99 (Debussy)
Dimanche sur les villes  First line to De soir, No 4 of Proses lyriques, L90 (Debussy)
Doctor Gradus ad Parnassum  No 1 of Children's Corner, L119 (Debussy)
En blanc et noir, L142 (Debussy)
En sourdine  No 1 of Fêtes galantes I, L86 (Debussy)
Estampes, L108 (Debussy)
Et la lune descend sur le temple qui fût  No 2 of Images II, L120 (Debussy)
Étude in the form of a canon  No 4 in A flat major of 6 Studien in kanonischer Form, Op 56 (Schumann/Debussy)
Études, L143 (Debussy)
Éventail  No 3 of Trois Poèmes de Mallarmé, L135 (Debussy)
Fantoches  No 2 of Fêtes galantes I, L86 (Debussy)
Faulse beauté, qui tant me couste cher  First line to Ballade de Villon à s'amye, No 1 of Trois Ballades de François Villon, L126 (Debussy)
Fêtes galantes I, L86 (Debussy)
Fêtes galantes II, L114 (Debussy)
Feuilles mortes: Lent et mélancolique  No 2 of Préludes II, L131 (Debussy)
Feux d'artifice: Modérément animé  No 12 of Préludes II, L131 (Debussy)
Fleur des blés, L16 (Debussy)
General Lavine, excentric: Dans le style et le mouvement d'un Cake-Walk  No 6 of Préludes II, L131 (Debussy)
Golliwog's Cake-Walk  No 6 of Children's Corner, L119 (Debussy)
Green  No 5 of Ariettes oubliées, L63 (Debussy)
Gymnopédie No 1 (Satie/Debussy)
Gymnopédie No 3 (Satie/Debussy)
Harmonie du soir  No 2 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Hommage à Rameau  No 2 of Images I, L105 (Debussy)
Hommage à S Pickwick Esq PPMPC: Grave  No 9 of Préludes II, L131 (Debussy)
Il m'a dit: «Cette nuit, j'ai rêvé.»  First line to La chevelure, No 2 of Chansons de Bilitis, L97 (Debussy)
Il pleure dans mon cœur  No 2 of Ariettes oubliées, L63 (Debussy)
Images I, L105 (Debussy)
Images II, L120 (Debussy)
Jardins sous la pluie  No 3 of Estampes, L108 (Debussy)
Jimbo's Lullaby  No 2 of Children's Corner, L119 (Debussy)
La cathédrale engloutie: Profondément calme  No 10 of Préludes I, L125 (Debussy)
La chevelure  No 2 of Chansons de Bilitis, L97 (Debussy)
La danse de Puck: Capricieux et léger  No 11 of Préludes I, L125 (Debussy)
La fille aux cheveux de lin: Très calme et doucement expressif  No 8 of Préludes I, L125 (Debussy)
La flûte de Pan  No 1 of Chansons de Bilitis, L97 (Debussy)
La grotte  No 2 of Trois Chansons de France, L115 (Debussy)
La mer est plus belle que les cathédrales  No 1 of Trois Mélodies, L85 (Debussy)
La mort des amants  No 5 of Cinq Poèmes de Baudelaire, L70 (Debussy)
La nuit a des douceurs de femmes!  First line to De rêve, No 1 of Proses lyriques, L90 (Debussy)
La plus que lente, L128 (Debussy)
La Puerta del Vino: Mouvement de Habanera  No 3 of Préludes II, L131 (Debussy)
La sérénade interrompue: Modérément animé  No 9 of Préludes I, L125 (Debussy)
La soirée dans Grenade  No 2 of Estampes, L108 (Debussy)
La terrasse des audiences du clair de lune: Lent  No 7 of Préludes II, L131 (Debussy)
L'âme évaporée et souffrante  First line to Romance, No 1 of Romances, L65 (Debussy)
Le balcon  No 1 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Le faune  No 2 of Fêtes galantes II, L114 (Debussy)
Le jet d'eau  No 3 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Le long des blés que la brise  First line to Fleur des blés, L16 (Debussy)
Le long du bois couvert de givre  First line to Le tombeau des naïades, No 3 of Chansons de Bilitis, L97 (Debussy)
Le petit nègre, L122 (Debussy)
Le son du cor s'afflige vers les bois  No 2 of Trois Mélodies, L85 (Debussy)
Le temps a laissié son manteau  First line to Rondel I, No 1 of Trois Chansons de France, L115 (Debussy)
Le tombeau des naïades  No 3 of Chansons de Bilitis, L97 (Debussy)
Le vent dans la plaine: Animé  No 3 of Préludes I, L125 (Debussy)
L'échelonnement des haies  No 3 of Trois Mélodies, L85 (Debussy)
Les angélus, L88 (Debussy)
Les cloches  No 2 of Romances, L65 (Debussy)
Les collines d'Anacapri: Très modéré  No 5 of Préludes I, L125 (Debussy)
Les donneurs de sérénades  First line to Mandoline, L43 (Debussy)
Les fées sont d'exquises danseuses: Rapide et léger  No 4 of Préludes II, L131 (Debussy)
Les feuilles s'ouvraient sur le bord des branches  First line to Les cloches, No 2 of Romances, L65 (Debussy)
Les hauts talons luttaient avec les longues jupes  First line to Les ingénus, No 1 of Fêtes galantes II, L114 (Debussy)
Les ingénus  No 1 of Fêtes galantes II, L114 (Debussy)
Les roses étaient toutes rouges  First line to Spleen, No 6 of Ariettes oubliées, L63 (Debussy)
Les sons et les parfums tournent dans l'air du soir: Modéré  No 4 of Préludes I, L125 (Debussy)
Les tierces alternées: Modérément animé  No 11 of Préludes II, L131 (Debussy)
Lindaraja, L103 (Debussy)
L'isle joyeuse, L109 (Debussy)
L'ombre des arbres  No 3 of Ariettes oubliées, L63 (Debussy)
Mandoline, L43 (Debussy)
Masques, L110 (Debussy)
Menuet  Movement 2 of Suite bergamasque, L82 (Debussy)
Menuet  Movement 3 of Petite suite, L71 (Debussy/Choisnel)
Mère des souvenirs, maîtresse des maîtresses  First line to Le balcon, No 1 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Minstrels: Modéré  No 12 of Préludes I, L125 (Debussy)
Mon âme vers ton front où rêve, ô calme sœur  First line to Soupir, No 1 of Trois Poèmes de Mallarmé, L135 (Debussy)
Mouvement  No 3 of Images I, L105 (Debussy)
Nous aurons des lits pleins d'odeurs légères  First line to La mort des amants, No 5 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Nuit d'étoiles, L2 (Debussy)
Ô rêveuse, pour que je plonge  First line to Éventail, No 3 of Trois Poèmes de Mallarmé, L135 (Debussy)
Ondine: Scherzando  No 8 of Préludes II, L131 (Debussy)
Pagodes  No 1 of Estampes, L108 (Debussy)
Passepied  Movement 4 of Suite bergamasque, L82 (Debussy)
Petite suite, L71 (Debussy/Choisnel)
Piano Trio in G major, L5 (Debussy)
Placet futile  No 2 of Trois Poèmes de Mallarmé, L135 (Debussy)
Poissons d'or  No 3 of Images II, L120 (Debussy)
Pour ce que Plaisance est morte  First line to Rondel II, No 3 of Trois Chansons de France, L115 (Debussy)
Pour le jour des Hyacinthies  First line to La flûte de Pan, No 1 of Chansons de Bilitis, L97 (Debussy)
Pour le piano, L95 (Debussy)
Pour les arpèges composés  No 11 of Études, L143 (Debussy)
Pour les notes répétées  No 9 of Études, L143 (Debussy)
Pour les sonorités opposées  No 10 of Études, L143 (Debussy)
Prélude  Movement 1 of Suite bergamasque, L82 (Debussy)
Prélude  Movement 1 of Pour le piano, L95 (Debussy)
Prélude à l'après-midi d'un faune, L87 (Debussy)
Prélude à l'après-midi d'un faune, L87 (Debussy/Sachs)
Préludes I, L125 (Debussy)
Préludes II, L131 (Debussy)
Princesse! à jalouser le destin d'une Hébé  First line to Placet futile, No 2 of Trois Poèmes de Mallarmé, L135 (Debussy)
Proses lyriques, L90 (Debussy)
Quant j'ai ouy le tabourin  No 2 of Trois Chansons de Charles d'Orléans, L99 (Debussy)
Quoy qu'on tient belles langagières  First line to Ballade des femmes de Paris, No 3 of Trois Ballades de François Villon, L126 (Debussy)
Recueillement  No 4 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Reflets dans l'eau  No 1 of Images I, L105 (Debussy)
Rêverie, L76 (Debussy)
Romance  No 1 of Romances, L65 (Debussy)
Romance, L56 (Debussy)
Romances, L65 (Debussy)
Rondel I  No 1 of Trois Chansons de France, L115 (Debussy)
Rondel II  No 3 of Trois Chansons de France, L115 (Debussy)
Sarabande  Movement 2 of Pour le piano, L95 (Debussy)
Scaramouche et Pulcinella  First line to Fantoches, No 2 of Fêtes galantes I, L86 (Debussy)
Serenade for the Doll  No 3 of Children's Corner, L119 (Debussy)
Sois sage, ô ma Douleur, et tiens-toi plus tranquille  First line to Recueillement, No 4 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Soupir  No 1 of Trois Poèmes de Mallarmé, L135 (Debussy)
Spleen  No 6 of Ariettes oubliées, L63 (Debussy)
String Quartet in G minor, L91 (Debussy)
Suite bergamasque, L82 (Debussy)
Sur la mer les crépuscules tombent  First line to De grève, No 2 of Proses lyriques, L90 (Debussy)
Syrinx (Debussy)
Tes beaux yeux sont las, pauvre amante!  First line to Le jet d'eau, No 3 of Cinq Poèmes de Baudelaire, L70 (Debussy)
The Little Shepherd  No 5 of Children's Corner, L119 (Debussy)
The snow is dancing  No 4 of Children's Corner, L119 (Debussy)
Toccata  Movement 3 of Pour le piano, L95 (Debussy)
Tournez, tournez, bons chevaux de bois  First line to Chevaux de bois, No 4 of Ariettes oubliées, L63 (Debussy)
Trois Ballades de François Villon, L126 (Debussy)
Trois Chansons de Charles d'Orléans, L99 (Debussy)
Trois Chansons de France, L115 (Debussy)
Trois Mélodies, L85 (Debussy)
Trois Nocturnes, L98 (Debussy/Ravel)
Trois Poèmes de Mallarmé, L135 (Debussy)
Un vieux faune de terre cuite  First line to Le faune, No 2 of Fêtes galantes II, L114 (Debussy)
Voici des fruits, des fleurs, des feuilles et des branches  First line to Green, No 5 of Ariettes oubliées, L63 (Debussy)
Voici venir les temps où vibrant sur la tige  First line to Harmonie du soir, No 2 of Cinq Poèmes de Baudelaire, L70 (Debussy)
Voiles: Modéré  No 2 of Préludes I, L125 (Debussy)
Votre âme est un paysage choisi  First line to Clair de lune, No 3 of Fêtes galantes I, L86 (Debussy)
Yver, vous n'estes qu'un villain  No 3 of Trois Chansons de Charles d'Orléans, L99 (Debussy)
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