Books › Grove's Dictionary of Music and Musicians, 1927 › scan 66
Scan 66
Grove's Dictionary of Music and Musicians, 1927
61 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 30. See the scan on archive.org.
11892-94. Eclogue for orchestra: 'Prélude à l'Après-midi d'un faune' (after Mallarmé).
21894-95. Songs: 'Proses lyriques' (Claude Debussy) — 'De rêve,' 'De grève,' 'De fleurs,' 'De soir.' Nos. 2 and 4 also with orchestra.
31898. Songs: 'Chansons de Bilitis' (Pierre Louys) — 'La Flûte de Pan,' 'La Chevelure,' 'Le Tombeau des Naïades.'
41897-99. Incidental music to 'Roi Lear.'
5,, Three 'Nocturnes' for orchestra: 'Nuages,' 'Fêtes,' 'Sirènes.'
61901. 'Pour le piano': 'Prélude,' 'Sarabande,' 'Toccata.'
71892-1902. Lyrical drama, 'Pelléas et Mélisande' (Maeterlinck).
81888-1903. Six songs (Verlaine): Nos. 1-3, 'Ariettes oubliées' — 'C'est l'extase,' 'Il pleure dans mon cœur,' 'L'Ombre des arbres dans la rivière' [No. 3 dates from 1880; see above]; No. 4, 'Paysages belges—Chevaux de bois'; Nos. 5-6, 'Aquarelles' — 'Green,' 'Spleen.' [Published under the general title of 'Ariettes oubliées.']
91903. For piano: three 'Estampes' — 'Pagodes,' 'La Soirée dans Grenade,' 'Jardins sous la pluie'; 'D'un cahier d'esquisses.'
101904. Songs: 'Fêtes galantes' (Verlaine), second series — 'Les Ingénus,' 'Le Faune,' 'Colloque sentimental'; three 'Chansons de France' — Rondel, 'Le temps a laissé son manteau' (Charles duc d'Orléans), 'La Grotte' (Tristan Lhermitte), Rondel, 'Pour ce que Plaisance est morte' (Charles duc d'Orléans).
11,, 'Danses' ('danse sacrée,' 'danse profane') for chromatic harp and string orchestra.
12,, For piano: 'Masques'; 'L'isle joyeuse.'
131903-05. 'La Mer,' three symphonic sketches for orchestra: 'De l'aube à midi sur la mer,' 'Jeux de vague,' 'Dialogue du vent et de la mer.'
141905. Three 'Images' for piano: 'Reflets dans l'eau,' 'Hommage à Rameau,' 'Mouvement.'
151907. Three 'Images' for piano, second set: 'Cloches à travers les feuilles,' 'Et la lune descend sur le temple qui fut,' 'Poissons d'or.'
161908. 'Children's Corner' suite for piano: 'Doctor Gradus ad Parnassum,' 'Jimbo's lullaby,' 1 'Serenade for the doll,' 'The snow is dancing,' 'The little shepherd,' 'Golliwogg's cake-walk.'
17,, Three songs for chorus of mixed voices, unaccompanied (Charles duc d'Orléans): 'Dieu! qu'il la fait bon regarder,' 'Quand j'ay ouy le tabourin,' 'Yver, vous n'estes qu'un villain' [No. 2 is for contralto solo with choral accompaniment].
181909. Three 'Images' (third set), for orchestra: 'Gigues,' 'Iberia,' 'Rondes de printemps.'
19,, 'Hommage à Haydn,' for piano.
201910. Rhapsody for clarinet and orchestra; 'Petite pièce' in B flat for clarinet and piano.
21,, Three Ballades (François Villon) for voice and piano, also with orchestra — 'Ballade de Villon à s'amye,' 'Ballade que feit Villon à la requeste de sa mère pour prier Notre-Dame,' 'Ballade des femmes de Paris,' 'Le Promenoir des deux amants'; three songs (Tristan Lhermitte) — 'Auprès de cette grotte sombre' [identical with 'La grotte' of 1904, see above], 'Crois mon conseil, chère Climène,' 'Je tremble en voyant ton visage.' one of two readings
22,, Three Ballades (François Villon) for voice and piano, also with orchestra — 'Ballade de Villon à s'amye,' 'Ballade que fait Villon à la requête de sa mère pour prier Notre-Dame,' 'Ballade des femmes de Paris,' 'Le Promenoir des deux amants'; three songs (Tristan Lhermitte) — 'Auprès de cette grotte sombre' [identical with 'La grotte' of 1904, see above], 'Crois mon conseil, chère Climène,' 'Je tremble en voyant ton visage.' one of two readings
23,, For piano: 'La plus que lente,' valse; 'La Boite à joujoux,' ballet for children; twelve 'Préludes' (first set) — 'Danseuses de Delphes,' 'Voiles,' 'Le Vent dans la plaine,' 'Les sons et les parfums tournent dans l'air du soir,' 'Les Collines d'Anacapri,' 'Des pas sur la neige,' 'Ce qu'a vu le vent d'Ouest,' 'La Fille aux cheveux de lin,' 'La Sérénade interrompue,' 'La Cathédrale engloutie,' 'La Danse de Puck,' 'Minstrels'; twelve 'Préludes' (second set) — 'Brouillards,' 'Feuilles mortes,' 'La puerta del Vino,' 'Les fées sont d'exquises danseuses,' 'Bruyères,' 'General Laviné — eccentric,' 'La Terrasse des audiences du clair de lune,' 'Ondine,' 'Hommage à S. Pickwick, Esq., P.P.M.P.C.,' 'Canope,' 'Les Tierces alternées,' 'Feux d'artifice.'
241911. Incidental music to 'Le Martyre de Saint Sébastien' (Gabriele d'Annunzio).
251912. 'Jeux,' ballet; 'Khamma,' 'légende dansée.'
26,, Piece for solo flute, as incidental music to 'Psyche' (Gabriel Mourey).
271913. Three songs (Mallarmé): 'Soupir,' 'Placet futile,' 'Eventail.'
281914. 'Berceuse héroïque' for piano, also for orchestra.
291915. Song: 'Noël des enfants qui n'ont plus de maisons' (Claude Debussy).
30,, 'En blanc et noir,' three pieces for two pianos.
31,, Six 'Épigraphes antiques' for piano duet: 'Pour invoquer Pan, dieu du vent d'été,' 'Pour un tombeau sans nom,' 'Pour que la nuit soit propice,' 'Pour la danseuse aux crotales,' 'Pour l'Égyptienne,' 'Pour remercier la pluie au matin.'
32,, Twelve 'Études' for piano solo, dedicated to the memory of Chopin.
33,, Sonata for violoncello and piano.
341916. Sonata for flute, viola and harp.
351916-17.2 Sonata for violin and piano.
37Debussy edited for Messrs. Durand the complete piano works of Chopin and also Bach's sonatas for violin and piano: he transcribed Schumann's 'Am Springbrunnen' for piano solo, Saint-Saëns's 'Caprice sur les airs de ballet de l'Alceste de Gluck' for piano duet, Schumann's six 'Studies in canon form, op. 56,'
391 Harold Bauer told the writer that Debussy, though assured (before publication) of his error, insisted that Jimbo, not Jumbo, was the famous elephant's real name.
402 'Hiver, 1916-17' is the date inscribed on the music: there is nothing dating from the last twelve months of Debussy's life.
42Saint-Saëns's second symphony in A minor, ballet airs from Étienne Marcel, and 'Introduction and rondo capriccioso,' and Wagner's overture to 'Der fliegende Holländer' for two pianos, and Nos. 1 and 3 of Satie's 'Gymnopédies' for orchestra.
44His literary works consist of contributions (54 in all) to La Revue blanche (Apr. – Dec. 1901), Gil Blas (Jan.-June 1903), Musica (Oct. 1902, May 1903), Le Mercure de France (Jan. 1903), La Revue bleue (Mar., Apr. 1904, June 1906), Le Figaro (May 1908), Comœdia (June 1908, Nov. 1909, Jan. 1910), Le Paris-Journal (May 1910), S.I.M.3 (Nov. 1912-Mar. 1914); he also wrote a preface to Pour la musique française (1917). A considerable number of the articles contributed to La Revue blanche and Gil Blas were collected with his sanction, and posthumously published under the title of Monsieur Croche antidilettante (Dorbon, 1921): 'Monsieur Croche' is an imaginary interlocutor invented for dramatic purposes.
46The Debussy literature is as yet small in extent, and most of it is slight in quality. Attention may specially be directed to the elaborate Supplement to La Revue musicale (Dec. 1920), containing detailed essays on various aspects of the composer's life and music by Jean-Aubry, Cortot (a very interesting discussion of the piano works), de Falla, Godet, Inghelbrecht, Laloy, Peter, Suarès, etc., and to the essay in Jean-Aubry's La Musique et les nations (1922): among English publications mention may be made of Ernest Newman's valuable articles in the Musical Times (May and Aug. 1918), and of some pages of luminous criticism in J. D. M. Rorke's A Musician's Pilgrim's Progress (1921).
48BIBLIOGRAPHY
49GIACOMO SETACCIOLI: Debussy e un innovatore. Rome, 1910; Ger. transl., Leipzig, 1911.
50DANIEL CHENNEVIÈRE: Claude Debussy et son œuvre. Paris, 1913.
51G. M. GATTI: L'opera pianistica di Cl. Debussy. R.M.I., 1920.
52LADISLAUS FÁBIÁN: Claude Debussy und sein Werk. Mit besonderer Rücksicht auf den musikalischen Impressionismus.
54DECANI, see CANTORIS.
56DECLAMATION, DECLAMATORY. Both these words imply a condition of things in which the words are of primary, the music of secondary, importance. They are used in several special senses.
58(1) 'Declamatory' music, whether in opera or not, is always more or less dramatic; in moments of excitement, of anger, or even of rapture it is the custom to allow the voice to approach near the confines of speech as distinguished from song, and to abandon the pure vocalisation which is generally associated with lyrical utterance. Thus the 'declamatory' and 'lyrical' styles are often opposed to each other in ordinary parlance. The contralto part
603 The journal of the Paris section of the International Music Society.
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