A Quote by Claude Debussy

Claude Debussy was a rare phenomenon a composer profoundly and subversively revolutionary. — © Claude Debussy
Claude Debussy was a rare phenomenon a composer profoundly and subversively revolutionary.
I think you can move to everything, but with some music you just want to sit still. Like Claude Debussy - I couldn't dance to that.
Century-old records are the closest thing we have to a time machine. To listen to the voice of Theodore Roosevelt or the piano playing of Claude Debussy is to feel the years falling away like autumn leaves from a maple tree.
Claude Debussy's 'Children's Corner' is a suite with six movements just for piano. Arturo Benedetti Michelangeli and Alfred Cartot's versions are amazing, but my favorite is Menininha Lobo's. Her version was done when she was an old lady - and you can hear it.
Claude Debussy defined the guitar as an expressive harpsicord. I believe that is the best definition ever given of the Spanish guitar. This phrase is the starting point for my Concierto de Aranjuez Our guitar is the only survivor of the rich and anarchic instrumental wildlife of the Middle Ages.
For Debussy the musician and the man I have had profound admiration, but by nature I'm different from him. I think I have always personally followed a direction opposed to that of the symbolism of Debussy.
Revolutionary politics, revolutionary art, and oh, the revolutionary mind, is the dullest thing on earth. When we open a revolutionary review, or read a revolutionary speech, we yawn our heads off. It is true, there is nothing else. Everything is correctly, monotonously, dishearteningly revolutionary. What a stupid word! What a stale fuss!
When Claude Debussy studied at the Paris Conservatory from age ten to age twenty-two, many considered him a rebel because of his treatment of dissonance and his disdain for the established forms. He reputedly turned to a fellow student during a performance of Beethoven with the words, "Let's go. He's starting to develop.
When I was younger, I used to do that a lot: I would hear a part of a song that would really relax me and then put it on repeat. That would send me to sleep. It was quite obvious classical music, people like Penguin Cafe Orchestra, Erik Satie, Claude Debussy, Maurice Ravel.
When I was growing up, until I was 18 or 19, I was totally invested in the classical music world. I had no concept of anything else. The closest thing to a cool band I listened to was Radiohead. Radiohead were the only band I liked in high school. I was just obsessed with classical music, opera, Claude Debussy, and that kind of stuff.
Whoever sides with the revolutionary people is a revolutionary. Whoever sides with imperialism, feudalism and bureaucrat-capitalism is a counter-revolutionary. Whomever sides with the revolutionary people in words only but acts otherwise is a revolutionary in speech. Whoever sides with the revolutionary people in deed as well as in word is a revolutionary in the full sense.
I think social media is a revolutionary phenomenon all in itself.
The thing I realised about composition is, we remember most composers for four bars of music. Four singable bars of music. Pretty much any major composer from Debussy to Ravel to Mozart to whoever else - you can kind of hum it.
It was an extreme time, in a certain sense... I was totally and profoundly influenced by the revolutionary movements of the '60s and '70s.
To find a new British composer who is really good is rare.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
The ability to understand and deliver comedy and tragedy is extremely rare in one composer.
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