Chapter 7 - Symbolism

Summary

Although Impressionism and Symbolism are but two of the numerous ‘-isms’ found in Paris in Debussy’s early years, these two movements are invariably associated with him. This chapter defines the symbolist literary style in France and surveys its development through some of its leading figures as well as its diffusion through some of its main institutions (Mallarmé’s salon, cafés, journals, bookstores). The author distinguishes between two phases in Debussy’s creative output: 1882–1902, when French-speaking literary symbolism clearly dominated the composer’s inspiration, and 1902–1917, when he became receptive to a wider range of poetry (especially that of French poets from the 15^th to the 17^th centuries). Important Debussy landmark pieces inspired by Symbolist writers (mélodies, the orchestral piece Prélude à l’après-midi d’un faune, and the opera Pelléas et Mélisande) are situated within the context of other musical works equally inspired by the same writers (Fauré, Bonheur, Bréville, Chabrier, Charpentier, Chausson, Duparc, Ravel).