While Reflets is a dramatic piece, it closes quietly, almost with a touch of solemnity, as resonant chords replace the prior arpeggios and the principal three-note motif sounds like a reminder of the scene that has just passed by. Sweeping arpeggios abound throughout the piece, creating the impression of little ripples or waves that distort the reflected image. We know not what these reflections may be, but through Debussy’s ingenious use of color and harmony we do know that we are not looking at them directly, but rather indirectly by virtue of perhaps a chance reflection in a pool of water. In the first piece, Debussy magnificently captures the image of its title: reflections in the water. And though these titles may give some direction as to the images Debussy may have had in mind while composing, they also leave ample room for the listener’s own imagination to take over. Nevertheless, each of the three pieces of Images has their own descriptive title: Reflets dan l’eau, Hommage à Rameau, and Mouvement. Indeed, it seems almost as generic in nature as the titles of “Intermezzo” or “Capriccio” were for German composers such as Johannes Brahms. The composer’s choice of title, however, is somewhat curious as it can be argued that the title could equally be well-applied to any of Debussy’s compositions. Christopher FalzoneĬlaude Debussy’s trio of piano pieces entitled Images, Book 1 was published in 1905, the same year as his Suite bergmasque. The final piece, Mouvement, consists of a driving, perpetual triplet rhythm that evokes images of the modern, industrial age. The second piece, Hommage à Rameau (Homage to Rameau), is a lovely sarabande written as a tribute to the great 18th century French composer, Jean‑Philippe Rameau with whom Debussy felt an affinity. The first piece, Reflets dans l'eau (Reflections in the Water), reveals Debussy's great love of nature and his fascination with water and light.

Book I consists of three contrasting pieces that Debussy brilliantly imbued with an underlying sense of unity. Like the Impressionists and Symbolists, he refused to let rules prevent him from fully expressing himself.ĭebussy published two books of Images that are excellent examples of his Impressionistic style. In a similar vein, the essence of Debussy's work is suggestion, rather than outright statement, and he frequently uses fragmentary motives and flashes of tone color to evoke impressions. Symbolist poets placed more importance on how a word sounded than on its exact meaning and refused to be limited by the rules of syntax or sentence structure. A similar movement, known as Symbolism, was ongoing in French poetry. Color and shading, for example, became more important than form and substance.

French Impressionist painters, such as Monet and Renoir, were using dots and small brush strokes of pure color designed to be blended together by the viewer's eyes to evoke a visual impression rather than an exact replica of the subject. Though Debussy did not like to be referred to as an Impressionist composer, his work is consistent with the movements that were ongoing in other arts at the time. His melodies often were constructed on unusual scales-modal, pentatonic, or whole tone scales, for example-to achieve certain moods. Debussy introduced totally new harmonic concepts through the use of dissonance, altered chords, and foreign harmonies. His teachers at the conservatory, however, did not appreciate his audacious chord progressions and unorthodox approach to music composition. Born near Paris in 1862 into a non‑musical, middle‑class family, his talent nevertheless was apparent, and his parents sent him to study at the Paris Conservatory when he was ten years old. The impact of his revolutionary ideas on 20th century piano music was comparable to Chopin's revolutionary contribution to 19th century piano music. The great French Impressionist composer, Claude Debussy was one of the most original and influential musical geniuses that ever lived.

Classical compositions unusual scales