A bundle of talent with a direction pointing toward his later development. Very atypical music especially for an eighteen year old at the time he composed this. He defined the perfection of very modal approach in relation to Mahler's or Richard Strauss's style of writing. This sound was never in this form before Debussy. Quasi an inventor of a new musical language.
@@julienjulien6228 Hi I know everything from Faure and I find him an instrumental step to receive Debussy but Debussy devised a new harmony concepts based on tieing modes together .
@@paulamrod537 I don't think that's entirely fair. One of the hallmarks of Fauré's style was integrating modes into a harmonic context; he never used them just as an isolated sonority (I think Orledge might agree).
These performances are stellar and flawless, and full of tribute, acclaim and deep emotion, and comfortable to the ear and the mind . I am a Japanese Debussyiest It is bliss itself to fall asleep while listening to these Debussy's works in my comfortable bed. From Tokyo of the Land of the Rising Sun🇯🇵
Bill Adams not at all. I honestly think that naming a piece is cliche and cheesy (not all the time). It’s not like a song where it’s easier to name it because there’s a defined theme to the lyrics
@@hghg2185 it would at least make it more accesible to the public. these pieces could describe alot of things and naming them would make them memorable if the name describes the piece. But i do i agree with you
In many cases, a title makes it cheap sounding. I heard one piece and thought it was cool but was immediately turned of to learn it was called the super unicorn or something.
Wow, I actually thought this was at least 5 years later, if not so by a full decade! If I was totally ignorant, I might have even mistaken this as one of Ravel's neoclassicist pieces.
Assuming you're talking about the cello part - it works if you use the thumb for the C and extend the third finger for the B. But it's very difficult for sure.
@@Kris9kris Brahms, with his teutonic heaviness, never had written such a transparent piano texture - look just at Saint-Saens piano trios, Debussy follows just him, it's obvious, for me at least
@@Kris9kris It differs from Tchaikovsky, too - P. Tch. was a Schumann follower in his piano writing (do you know his piece titled "A Bit of Schumann" ?). Just is more reasonable to compare C.D. with Gabriel Faure, if one wants to look for his Romantic predecessors
@@speravi1000 You're right about Schumann and Tchaikovsky - the latter borrowed subconsciously (or consciously?) a heap ton of material from the former. (see the Trio in the Scherzo of Schumann's second symphony vs. the Pathetique's third movement among other things). I think another influence that is rather overlooked in Tchaikovsky's life is Liszt, especially in regards to his symphonic works.
esta cansion me recuerda a esos dias en que estava en la pradera comiendo bacalaoo , i venia mi abuela en pelotas a decirme que la nocilla estava caliente
MuseDuCafe But wouldn’t the alternative be these melodies be just left aside unheard? I find this one of my favorite pieces, namely because I love all four movements equally, which I rarely find my self admitting for a lot of pieces
![Claude Debussy - Piano Trio in G Major [With score]](/img/logo.svg){kind=logo}
