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shape of the poem, as well as the
scenery so marvellously described
in the text.” In the poem, a faun
awakens from an afternoon nap,
recalling a moment of arousal at
the sight of a pair of water nymphs.
The faun tries to embrace the
nymphs, but they disappear into
nothingness. Mallarmé’s poem
is evocative, yet fundamentally
ambiguous, focusing on thedeep sensuality of the moment.
Debussy’s interpretation of the
poem sought to replicate this
sensuality, in an almost subversive
upheaval of musical language.Debussy and Wagner
This subversion is evident in
Debussy’s unmistakable references
to the prelude from Wagner’s
Tristan und Isolde. That prelude
opens with a yearning cello line
(the “longing” motif) followed by a
half-diminished chord (the famous
“Tristan chord”). Debussy’s Prélude
also begins with a single line—a
characterful flute flourish—before
landing on a half-diminished chord.
Wagner’s Tristan chord then begins
a chromatic progression ending in
an unresolved imperfect cadence ❯❯MODERN 1900 –1950
The Greek god Pan pursues the
nymph Syrinx in François Boucher’s
work. The amorous faun Pan featured
in many of Debussy’s works, including
“La Flûte de Pan” and “Syrinx.”Claude Debussy
Born in a Parisian suburb to
a shop owner and his wife, in
1862, Debussy began music
lessons at the age of seven,
and at 10 he embarked on a
decade of study at the Paris
Conservatoire. By 1890, he
had composed more than
50 songs, but fewer larger-
scale pieces, of which many
were not published and
some never completed.
In the 1890s, he established
the impressionist style for
which he is best remembered.
His String Quartet (1893)
demonstrated many of the
traits that were established
in the Prélude à l’après-midi
d’un faune, the culmination
of which were his symphonic
masterwork La Mer (1905)
and his only published opera,
Pelléas et Melisande (1902).
In his later career, he focused
on smaller-scale forms,
composing many of his
best-known piano works,
including L’isle joyeuse (1904),
and his two books of Préludes.
Debussy died in Paris in 1918.Other key works1902 Pelléas et Mélisande
1903 Estampes
1903–1905 La MerSee also: The Ring Cycle 180 –187 ■ Das Lied von der Erde 198–201 ■ Parade 256 ■
Quartet for the End of Time 282–283Its use of timbres seemed
essentially new, of
exceptional delicacy and
assurance in touch.
Pierre BoulezUS_228-231_Debussy.indd 229 26/03/18 1:01 PM