Debussy - Tumblr Posts
just listened to 'la mer' by debussy. this... this is too overwhelming. he's an impressionist, that i could tell you, and oh, the ship! the SHIP.
the small fish wandering around and throwing themselves onto the wood, the waves beating on the shore, the prelude to a tempest, the almost subtle creaking of the masts, the peaceful underwater life with winged creatures floating and rustling through the currents...
you made me cry, debussy, and i am so very thankful for it.
Shostakovich <3
13.08.21
Well, technically the 14th since I got up at 2am. Pictured above are Cassiopeia, Perseus, probably part of Andromeda, Triangulum, and part of Auriga. Listened to Claire de Lune; Moonlight Sonata (1st Movement); Tchaikovsky: Swan Lake, Op. 20, Act 2: Scene (Moderato); Nocturne No. 2 in E-Flat Major; Near Light; Gymnopédie No. 1; and the episode entitled Capacity for Wonder in John Green’s The Anthropocene Reviewed. In the hour that I was out, I saw at least 42 meteors: a number obtained through a bit of selective counting. At one point I just stopped to take it all in.
“That, then, is loveliness, we said,/ Children in wonder watching the stars,/ Is the aim at the end.” —Dylan Thomas, Being But Men
sirius would find it fucking hilarious that there was a composer called 'Debussy' and it would piss Regulus off so much
14 décembre 2018
Concert à la Madeleine (Paris) pour le centenaire de la disparition de Debussy.
Première Arabesque par Jean-François Gonzales, violon et Han Wang, piano.
Transcription de Jean-François Gonzales.
Takahiro Yoshikawa’s Debussy
Takahiro Yoshikawa is a piano player from Nishinomiya, Japan who released last year (2017) on the Ypsilon International label a very standard Debussy program: the Bergamasque, Estampes, both books of Images. But the playing is unique for the repertoire. And very enjoyable to my ear, not only for its novelty, which is remarkable, but too many players, to the point of stereotype, seem to have a built-in aversion to pairing Debussy with clarity. Not so Mr Yoshikawa. The playing has all the loveliness it needs without automatic over-pedaling. I cannot think of anyone other than, perhaps on occasion, Gieseking, possibly Michelangeli, with anything like a similar approach. And lest anyone think perhaps his foot is broken, he can certainly depress the sustain: cf. Estampes, though, to repeat, appropriately and without heaviness. Rather than trying to impress with the evenness of harmonic arpeggiation, the ending of Pagodes is slowed and articulated, bringing a whole new sense of attention to the coda. Additionally, while I enjoy a whirlwind tempo in Debussy as much as the next guy, it’s not always necessary. The Passapied here, for example, is played with delicacy and restraint which, paradoxically, gives it power and strength. I won’t go into an analysis of each work, but overall simply to say it is worth many listens and a wide audience. I’ll provide the former and hope for a more perfect world that makes possible the latter.
Claude Debussy’s daughter was so enchanted by one of Arthur Rackham’s Peter Pan illustrations (she even hung it over her bed), so her father wrote a special piece of music after it called ‘The Fairies Are Exquisite Dancers’.
« L’âme évaporée et souffrante », Mélodie française de Claude Debussy, sur le poème de Paul Bourget Ténor : Yen-Ju Peng Pianiste : Hui-Li Li 《昇華隱忍之魂》 法文藝術歌曲，克勞德．德布西依據保羅．布爾傑之詩而作曲。 男高音：彭彥儒 鋼琴：李蕙利