Debussy and the theatre / Robert Orledge.
| Author/creator | Orledge, Robert |
| Format | Book |
| Publication Info | Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1982. |
| Description | xvii, 383 pages : illustrations, portraits, music, facsimiles ; 24 cm |
| Subjects |
| Contents | Introduction -- Part I. The operas. Before Pelléas: Axël, Rodrigue et Chimène and other early projects, including Diane au bois. Axël (c1887-9) ; Rodrigue et Chimène ; The other projects up to 1892, including Diane au bois -- Pelléas et Mélisande (1893-5, 1901-2). Aims, composition, productions and interpreters ; The manuscripts ; Other musical aspects and general conclusions -- After Pelléas: the Poe operas (Le diable dans le beffroi, La chute de la Maison Usher). Le diable dans le beffroi (June 1902-?1912) ; La chute de la Maison Usher (June 1908-1917) -- Part II. The ballets. 5. Khamma (1911-13) -- Nijinsky and Diaghilev's Ballets Russes (1909-13): Masques et bergamasques, L'après-midi d'un faune and Jeux. Masques et bergamasques (1909-10) ; L'après-midi d'un faune (November 1910-May 1912) ; Jeux (1912-13) -- La boîte à joujoux (1913) -- The Alhambra theatre: No-ja-li or Le palais du silence and Printemps (1913-14) -- Crimen amoris, later Fêtes galantes (1912-15) -- Part III. Incidental music for the theatre. Le martyre de Saint Sébastien (1911) -- The remaining incidental music (1899-1913) and the plays written in collaboration with René Peter. La tragédie de la mort, Les 'Frères en art' (F.E.A.) and the other Peter collaborations (1896-9) ; Pierre Louÿs and the Chansons de Bilitis (1900-1) ; Le Roi Lear (1904) ; L'histoire de Tristan, Psyché and the other Gabriel Mourey projects (1907-13) -- Part IV. Incomplete and unstarted projects. As you like it; Louÿs, Segalen and the projects from Pelléas onwards (1895-1917). As you like it (1886, 1917) ; Comme il vous plaira (1902-3) ; Projects with Pierre Louÿs and others (1895-1901) ; Projects with Victor Segalen and others (1902-10) ; The remaining projects (1911-17) -- Part V. In perspective. Debussy in and about the theatre: some observations and conclusions. Debussy's views about his theatrical predecessors and contemporaries ; Debussy's views about theatres, from their policies and personnel to their architecture and acoustics ; Some reasons for Debussy's lack of theatrical 'productivity' ; Epilogue -- Appendix. Chronological catalogue of theatre works and projects. |
| Abstract | Debussy and the theatre means, in effect, 'Debussy and Pelléas et Melisande', the only stage work Debussy chose and completed himself without a definite production in view. The opera both established Debussy's mature style and reputation in the forefront of contemporary composers and changed the course of operatic history. But Pelléas was also largely responsible for Debussy's 'compulsive inachievement' in the theatre. Before it he delayed completing other works so that Albert Carré's production at the Opéra-Comique would be his theatre debut; and then its traumatic dress-rehearsal in April 1902 left him reluctant to undergo another similar experience. This, coupled with his search for lyrical librettos or scenarios that could inspire the rhythm and color that he regarded as vital ingredients in theatre music, resulted in a career littered with abandoned projects. The story of this most fascinating of love-hate relationships with the stage is told, as far as possible, in the composer's own words or from contemporary documents. |
| Bibliography note | Includes bibliographical references (pages 330-346) and indexes. |
| LCCN | 82001348 |
| ISBN | 0521228077 (hardcover) |
| ISBN | 9780521228077 (hardcover) |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Music Stacks | ML410.D28 O74 1982 | ✔ Available | Place Hold |