Claude Debussy (1862-1918) occupa una posizione di primo piano nel panorama musicale del XX secolo.
La sua base musicale di partenza fu quella delle opere dei musicisti francesi del tempo(Franck, Saint-saens, Satie, Ravel) e della tradizione musicale europea di fine 800, Wagner in primo luogo.
Per la musica di Wagner (in particolare " Tristano e Isotta " e il " Parsifal ") Debussy serbò una costante ammirazione, ma detestò le sue idee filosofiche.
Subì l'influsso dell'armonia non-convenzionale dei musicisti russi, di Musorgskij soprattutto (nel 1893 studiò a fondo il " Boris "). Ebbe interesse per il canto gregoriano, e questo si riflesse nell'impiego di archaic melodic and harmonic: modal scales, chord progressions without parallel third. Very close to the Symbolists, Debussy set to music many of their poems as " Prélude à l'après-midi d'un faune ", a famous Mallarme's eclogue, "The Martyre de Saint-Sébastien", written in verse French by Gabriele D'Annunzio, "Pelleas et Melisande " the verses of Maeterlinck.
Pelleas et Melisande, opera, divided into five acts, was staged at the Teatro dell 'opera-comique in Paris April 30, 1902.
In the drama, the allegories and symbols are continuous and the atmosphere is grim for a time and place unspecified.
Goland, grandson of old King Arkel, bride Melisande and brings with him to the castle of Arkel, where he lives his brother Pelleas [...].
The story has no real logical development and consequent, but was held in hints and allusions, where the characters move like a dream. The opera
Materlinck corresponded to what Debussy was looking for a drama that moves away from current models of bourgeois theater!
The most significant choice to the text was to keep the original writing in the outlet, simply cut some scenes, both for aesthetic reasons and duration.
Debussy was the first composer to put music in a theatrical pre-existing text as it was written, the choice that proved revolutionary and paved the way for a new way of understanding the relationship between dramatic theater and musical theater. With the opera Pelleas
out for the first time 800esche conventions: the vocal writing is configured as a continuous, subdued and declamatory, with few sustained notes, which only rarely is arched in lyricism. It 'a kind of recitative intended to draw attention to the finest nuances of the French language, it's almost as if the words, rather than sung, were pronounced, while the music plays. The orhestra take part uninterrupted implementation of the drama is the background sound to the voices, but never dominate them!
Debussy avoids the squaring of rhythmic phrases and traditional continuity and symmetry of the musical discourse.
Wagner does not reject the technique of Leitmotive , but they are few and simple take on a value of retrieving, "presence", not to become a theme: they are repeated, but not processed or developed symphonic, as happens in the Wagnerian dramas.
The reasons relate to moods, with significant areas or objects symbolize.
In 1894 Debussy wrote to his friend and colleague Chausson:
"I spent all day chasing that" nothing "that is made Melisande, and sometimes I also lacked the courage to tell. If you've never fallen asleep, as me with a vague desire to weep, as if he had not potuto vedere durante la giornata una persona amatissima. Adesso è Arkel a tormentarmi: questi è un personaggio d'oltretomba, e ha quella tenerezza disinteressata e profetica propria di chi sparirà a breve. E tutto questo va detto con DO RE MI FA SOL LA SI DO! che mestiere!"
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