the worth of the content, the perfection or inadequacy of style
and the manner in which the media of presentation are used.
To begin with the last characteristic—there is no doubt that
Debussy has enlarged the resources of our two chief modern
instruments, the pianoforte and the orchestra. By him the pi-
anoforte is always treated according to its true nature,i.e., as
an intimate, coloristic instrument and, in amplifying all its re-
sources of tone-color, flexible rhythm and descriptive power he
is the worthy successor of Chopin. In his orchestral composi-
tions such as theNocturnes(Clouds,FestivalsandSirens), the
Sea PiecesandImages, of which theRondes de Printempsand
Ibériaare the most significant, there is a union of warmth and
delicacy as individual as it is rare.Ibéria, in fact, for vitality of
imagination and flawless workmanship may be considered the
acme of Debussy’s orchestral style. The great resources of the
modern orchestra are often abused. Compositions are rich and
gorgeous but at the same time inflated, turgid and bombastic.
Certain works of Richard Strauss and Mahler are examples in
point. Debussy’s treatment, however, of the varied modern or-
chestra is remarkable for its economy. The melodic lines stand
out clearly, there is always a rich supporting background and
we are convinced that everything sounds just as the composer
meant. As to the structure and style of his music, these are
more subtle matters to estimate. We may acknowledge at once
that Debussy’s style is free and individual, for he has written his
music his own way, with slight regard for academic models. But
a thorough examination of his works shows no evidence of care-
lessness or uncertainty of aim. There is, to be sure, nothing of
that routine development of musical material which we associate
with classic practice—instead a free, imaginative growth. But
there is always a definite structural foundation to support the
freedom of expression. This coherence is sometimes gained by a
single dominating note about which everything is grouped, as,
in theSoirée dans Grenade, the C-sharp and in theReflets dans
l’eau, an F. Most of Debussy’s compositions imply the princi-
ples, albeit freely used, of Two- and Three-part form and the
fundamental laws of key-relationship and of artistic contrast.
[Footnote 297: The best books yet written on Debussy and his
style are those by Mrs. Liebich and Louis Laloy. Consult also
the comprehensive essay by E.B. Hill in Vol. III of theArt of
Music.]