The Musical Relationship between Claude Debussy and Igor Stravinsky

Name: The Musical Relationship between Claude Debussy and Igor Stravinsky
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ISBN: 9781648250903

Professor Mark McFarland

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English

University of Rochester Press
14 May 2024

Theory of music & musicology; 20th century & contemporary classical music; Individual composers & musicians, bands & groups; Keyboard instruments

Series: Eastman Studies in Music

Stravinsky's influence on Debussy in 1910-13, rarely discussed, is demonstrated here in the many modernistic features of such works as the Preludes Book II, Khamma, and Jeux. This book reassesses the relationship between Debussy and Stravinsky, two of the most important composers of the early twentieth century. When the Russian composer traveled to France in 1910 to attend the premiere of his first ballet, The Firebird, he was invited to dine at the French composer's house, and a photo of the two commemorates the beginning of their friendship. Stravinsky was already acquainted with many of Debussy's earlier works, and Debussy was introduced to the Russian composer's first three ballets between 1910 and 1913.

Stravinsky's early works contain Debussy-like passages, as in the opening measures of his opera The Nightingale, which echoes the opening measures of Debussy's ""Nuages."" As author Mark McFarland here shows, however, the adoption on Debussy's part of characteristics from Stravinsky's style is, perhaps surprisingly, no less substantial. Debussy borrowed motifs from both The Firebird and Petrushka as well as the Russian tradition of Leitharmony in his little-known ballet Khamma, and Stravinsky's ballets, including The Rite of Spring, seems to have sparked an exploration into octatonic harmony in Debussy's second book of piano preludes.

McFarland's close analysis of parallel passages and usages in works of the two composers also reveals that Debussy eventually distanced himself from Stravinsky, perhaps fearing to seem like an acolyte rather than an innovator. His borrowings from Stravinsky (and Russian style) gradually disappear, as McFarland demonstrates by close attention to passages in some of the late works, which move in the direction of a neoclassicism that Stravinsky himself would soon adopt and expand further.

By: Professor Mark McFarland
Imprint: University of Rochester Press
Country of Publication: United States
Dimensions: Height: 229mm, Width: 152mm,
Weight: 444g
ISBN: 9781648250903
ISBN 10: 1648250904
Series: Eastman Studies in Music
Pages: 210
Publication Date: 14 May 2024
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

MARK MCFARLAND is Associate Professor in the School of Music at Georgia State University.

Reviews for The Musical Relationship between Claude Debussy and Igor Stravinsky

McFarland's analyses are invaluable for anyone studying Debussy's music, often providing important counterarguments to previously published analyses, so I recommend this book for any university library serving advanced music theory students. Debussy's and Stravinsky's compositions continue to both inspire and confound today, over one hundred years later, and analyses like these are vital to unlocking our understanding of them. I look forward to seeing McFarland's future publications. * NOTES: THE QUARTERLY JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *