![]() ![]() (8) The arabesque appealed to his admiration for natural instinct over. ![]() The composer considered the musical arabesque to be an ornamented line, curving "naturally" or in accordance with "nature," just as the Art Nouveau artists celebrated the shapes in nature. The Art Nouveau concept of the ornamental line, the "arabesque," which originally referred to a motif in Arabic art, is connected to a central theme in Debussy's musical thought. Lines moving upward represented positive emotions such as happiness and hope, and downward lines conveyed sadness and emotional decline. (6) In the illustration, the winding curves of the woman's hair are characteristic of this highly stylized and symbolic art form. (5) Debussy's cantata La Damoiselle elue (1887-88), based on the text by British poet and pre-Raphaelite artist Dante Gabriel Rossetti, reveals the influence of the Art Nouveau movement in its cover illustration by Debussy's friend Maurice Denis (image on page 45). They focused on the line, especially in the winding curlicues of vines, flowers, and women's hair. Art Nouveau artists thought of utilitarian objects, furnishings, and tools as works of art, and developed a highly decorative, intricate style of representing figures and nature. (4) It grew out of Impressionism and was connected to the English pre-Raphaelites and the Arts and Crafts movement. In the late 1880s, Debussy embraced the Art Nouveau style that was in vogue at the time. (3) Less known but equally important is the composer's fascination with Art Nouveau, a movement that flourished in Europe between 18. (2) Among the artists and styles he is known to have admired are Manet, Degas, Monet, Turner, Rodin, his friend Camille Claudel, the English Pre-Raphaelites, and Japanese prints. La Mer, Images, Estampes, and the piano Preludes are just a few of his numerous pieces inspired by visual images, and the parallels between his music and Impressionist art have been frequently studied. (1) His own writings and the recollections of those who knew him attest to the close linkage of music with visual art in the composer's creative mind. Analyzing Debussy's flute writing in its artistic context provides valuable insight for us as interpreters.ĭebussy, who wrote "J'aime les images presque autant que la musique" ("I love images almost as much as music") was an extremely visually oriented composer. Several elements that recur throughout his flute writing show the influences of artistic styles such as Impressionism and Art Nouveau and literary styles and themes such as the symbolist emphasis on color and dreams. The artist has managed to show both the light of a bright day in early. Painted in Normandy near the small fishing village of Pourville, the figures are likely two daughters of Alice Hosched who would become Monet's second wife. Considering additionally the flute parts of the orchestral La mer, Nocturnes, and Images, the opera Pelleas et Melisande, and the ballets Jeux and Khamma, it is clear that Debussy gave the flute a significant role throughout his corpus. An 1882 oil on canvas, Cliff Walk at Pourville, by Claude Monet (1840-1926), the French impressionist painter. Claude Debussy (1862-1918) wrote some of the most beautiful and evocative flute music ever written-"Syrinx" for solo flute, the Sonata for Flute, Viola and Harp, and the prominent flute solos of Prelude d L'apres-midi d'un faune are iconic staples of our repertoire. ![]()
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