Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 03 | Monsieur Croche | 20240501 | Donald Macleod explores Debussy’s work as an outspoken critic, and in the aftermath of the scandal with soprano Therese Roger, there’s more shocking behaviour from the composer.
In the music of Claude Debussy there have been said to run dangerous and destructive currents. His radical works did forge a path which would redefine music in the 20th century, but his beautiful music runs contrary to his shocking personal life. The Scottish soprano Mary Garden said of him, “I honestly don’t know if he ever loved anybody really. He loved his music – and perhaps himself.” The lies and duplicity, deception and debt left other unfortunate people in their wake, with Debussy unrepentant throughout. In the aftermath of these scandals, Debussy was disowned by his friends, and by most of Parisian society, but the notoriety he gained only seemed to heighten his appeal with audiences. Over the course of this week, Donald Macleod tracks the scandalous life of Achille-Claude Debussy and tries to reconcile his appalling behaviour with his transcendent music.
Today, Donald explores Debussy’s work as a critic under the pseudonym Monsieur Croche. And, even though the dust has barely settled from the latest scandal in the composer's personal life, there’s more shocking behaviour to come from Debussy.
Prelude – La Fille aux cheveux de lin
3 Chansons de Bilitis
Fetes Galantes - Claire de Lune
Trois Nocturnes
Images, L 110 – II. Hommage a Rameau
Produced by Sam Phillips for BBC Audio Wales and West
Donald Macleod explores Debussy\u2019s work as an outspoken critic. An informative guide to composers' lives and their music. Donald Macleod explores Debussy’s work as an outspoken critic, and in the aftermath of the scandal with soprano Therese Roger, there’s more shocking behaviour from the composer.
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| 04 | The Hooligans | 20240502 | Debussy ascends to a new level of fame as his opera Pelléas et Mélisande is premiered, but more lies and duplicity from the composer have tragic repercussions.
In the music of Claude Debussy there have been said to run dangerous and destructive currents. His radical works did forge a path which would redefine music in the 20th century, but his beautiful music runs contrary to his shocking personal life. The Scottish soprano Mary Garden said of him, “I honestly don’t know if he ever loved anybody really. He loved his music – and perhaps himself.” The lies and duplicity, deception and debt left other unfortunate people in their wake, with Debussy unrepentant throughout. In the aftermath of these scandals, Debussy was disowned by his friends, and by most of Parisian society, but the notoriety he gained only seemed to heighten his appeal with audiences. Over the course of this week, Donald Macleod tracks the scandalous life of Achille-Claude Debussy and tries to reconcile his appalling behaviour with his transcendent music.
Today, a band of Debussy supporters called Les Apaches (the Hooligans) help him ascend to a new level of fame as his opera Pelléas et Mélisande is premiered. However, Donald find more lies and duplicity from the composer and this time they lead to tragic repercussions, with the composer being forced to flee France.
Estampes - II. La soiree dans Grenade
Pelléas et Mélisande, Act III (excerpt)
Rhapsodie for saxophone and orchestra
L’isle joyeuse
Danse Sacrée et Danse Profane
La Mer – III. Dialogue of the Waves
Produced by Sam Phillips for BBC Audio Wales and West
Debussy ascends to a new level of fame as his opera Pell\u00e9as et M\u00e9lisande is premiered. An informative guide to composers' lives and their music. Debussy ascends to a new level of fame as his opera Pelléas et Mélisande is premiered, but more lies and duplicity from the composer have tragic repercussions.
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| 05 | The Fall | 20240503 | There is scandal at the ballet and in the concert hall as Donald Macleod explores the end of Debussy’s life. And as war erupts, the composer’s mountain of debt continues to grow.
In the music of Claude Debussy there have been said to run dangerous and destructive currents. His radical works did forge a path which would redefine music in the 20th century, but his beautiful music runs contrary to his shocking personal life. The Scottish soprano Mary Garden said of him, “I honestly don’t know if he ever loved anybody really. He loved his music – and perhaps himself.” The lies and duplicity, deception and debt left other unfortunate people in their wake, with Debussy unrepentant throughout. In the aftermath of these scandals, Debussy was disowned by his friends, and by most of Parisian society, but the notoriety he gained only seemed to heighten his appeal with audiences. Over the course of this week, Donald Macleod tracks the scandalous life of Achille-Claude Debussy and tries to reconcile his appalling behaviour with his transcendent music.
In Friday’s episode, there is scandal at the ballet and in the concert hall as Donald explores the end of the life of Claude Debussy. Despite struggling with the cancer which would finally lead to his death, and the eruption of World War One, the composer also finds a new spark of inspiration. However, it would not be enough to counter Debussy’s mountain of debt which continued to grow as he fails to complete a host of promised works for the stage.
Children’s Corner – Cakewalk
5 Poemes de Charles Baudelaire - III. Le Jet d’eau
The Martyrdom of Saint Sebastian – Music for Act V - Paradise
Jeux, L 126
Sonata for flute, viola and harp, L 137 – III. Finale
La chute de la maison Usher, L112 (excerpt) (completed and orchestrated by R Orledge)
Debussy
Produced by Sam Phillips for BBC Audio Wales and West
Scandal in the concert hall as Donald Macleod traces the end of Debussy\u2019s life. An informative guide to composers' lives and their music. There is scandal at the ballet and in the concert hall as Donald Macleod explores the end of Debussy’s life. And as war erupts, the composer’s mountain of debt continues to grow.
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| 2012 | 01 | 20121008 | Exploring why it was to be a long journey before Debussy grew into a mature composer. | ||
| 2012 | 02 | 20121009 | Donald Macleod on how Debussy led a revolution in the opera house and the concert hall. | ||
| 2012 | 03 | 20121010 | Donald Macleod on how a baby daughter inspired one of Debussy's most popular piano works. | ||
| 2012 | 04 | 20121011 | Donald Macleod picks his way through Debussy's Preludes. | ||
| 2012 | 05 LAST | 20121012 | How the start of hostilities in 1914 was the prelude to Debussy's last big creative burst. | ||
| 2014 | 01 | Debussy And His Premier Trio | 20141013 | He had a profound impact upon music and musicians in his day, and created new genres for the piano and orchestra, this week Donald Macleod explores Claude Debussy through his chamber music. Debussy composed many lush and impressionistic scores, including La Mer and Iberia. We remember him today largely for his orchestral or solo piano music where he developed many new genres. This week, Donald Macleod will be exploring a less celebrated, but important, area of Debussy's output, his chamber works. Chamber music spans Debussy's entire musical career, including a Piano Trio composed in 1880, a String Quartet, examination pieces for clarinet and piano, and a number of sonatas for various instruments. Towards the end of his life, chamber music remained uppermost in his mind and Debussy planned to compose a further six sonatas, including works for wind instruments, and a second string quartet. With his death in 1918, he was never able to fully complete his plans. As a student at the Paris Conservatoire, Debussy composed many works, including Danse boh退mienne for solo piano, and his song, Madrid, a setting of Alfred de Musset evoking the 'white city of serenades . Debussy studied piano at the Conservatoire but, although his exceptional talent was recognised, reactions to his playing weren't always positive; one person commented that 'this budding Mozart is a regular devil'. Whilst a student, Debussy also worked as a pianist to earn money. He played the piano for Madame von Meck and accompanied her and her family on a tour across Europe. Debussy gave her children music lessons and also hoped to impress his employer by composing his Symphony for piano duet, which he never orchestrated. It was during this period that Debussy also composed his first significant chamber work, the Premier Trio in G major. Donald Macleod focuses on Debussy's entering the Paris Conservatoire. | |
| 2014 | 02 | Debussy's First String Quartet | 20141014 | He had a profound impact upon music and musicians in his day, and created new genres for the piano and orchestra, this week Donald Macleod explores Claude Debussy through his chamber music. The composer, Chausson and Debussy became good friends. The composers discovered they had shared interests, not only in music, and Chausson became an older brother figure to Debussy. In the summer of 1893, Chausson rented a house at Luzancy, where Debussy joined him and, together, they spent weeks studying the score of Mussorgsky's opera, Boris Godunov. The experience was a great influence on Debussy's own opera, Pelleas and Melisande. Chausson, though, disapproved of Debussy's scandalous lifestyle and their friendship came to an end. Debussy went on to befriend another composer and performer, Eug耀ne Ysaÿe, who brought his own ensemble to Paris to give the premiere of Debussy's String Quartet in G major. It was during this period of the early 1880s that Debussy also composed his famous Afternoon of a Faun. Exploring how close friends disappeared once Debussy became involved in a love scandal. | |
| 2014 | 03 | Debussy's Premiere Rhapsodie | 20141015 | He had a profound impact upon music and musicians in his day, and created new genres for the piano and orchestra, this week Donald Macleod explores Claude Debussy through his chamber music. Debussy, in the early twentieth century, had settled down with Emma Bardac, with whom he had a daughter Claude-Emma. The family struggled financially and Debussy had to take on conducting work. For the Paris conservatoire, he produced a sight-reading test piece, his Petite Pi耀ce, and also an examination work, the Premi耀re Rhapsodie, both for clarinet and piano. The prospect of generous commission fees drew Debussy to compose for the stage. He started work on a ballet project, called Khamma, which was to be set in Egypt. Another commision came from the dancer Ida Rubenstein, who asked for a new work based on the Martyrdom of St Sebastian. The finished piece caused much controversy and the Archbishop of Paris forbade Catholics to attend performances, under threat of excommunication! Why Debussy turned to conducting and wrote new chamber music for the Paris Conservatoire. | |
| 2014 | 04 | Debussy's Cello Sonata | 20141016 | He had a profound impact upon music and musicians in his day, and created new genres for the piano and orchestra, this week Donald Macleod explores Claude Debussy through his chamber music. With the outset of World War One, the Daily Telegraph invited composers to contribute works towards the King Albert's Album, which would be a tribute to the Belgium monarch and his soldiers. Debussy responded with a melancholy work which references the Belgium national anthem, his Berceuse h耀roque for orchestra. Early on in the war, he also started to compose a set of Twelve Etudes for the piano, which he told his publisher would be a secret homage to those Frenchmen lost on the battlefields. Debussy had been suffering physically for some time during this period and it was in 1915 that he was diagnosed with cancer. He underwent a risky operation; there were no antibiotics available, and afterwards, the pain was kept at bay with morphine. That same year, though, Debussy composed his Sonata for cello and piano, whilst he stayed at the villa Mon Coin. Exploring the time when, suffering physical illness, Debussy wrote his Cello Sonata. | |
| 2014 | 05 LAST | Debussy's Last Chamber Works | 20141017 | He had a profound impact upon music and musicians in his day, and created new genres for the piano and orchestra, this week Donald Macleod explores Claude Debussy through his chamber music. Debussy had undergone an operation for cancer, which left him very weak and in pain for the rest of his now shortened life. These were the early years of World War One, and Debussy was greatly saddened by reports of the scale of the carnage on the front line. His song, No뀀l des enfants qui n'ont plus de maison from 1915, doesn't hold back about the hopelessness of the time. Debussy had had a burst of creativity in in 1915, where he composed, amongst other things, his Sonata for flute, viola and harp. During these final years of his life, he envisaged writing six sonatas, including some for wind instruments. His plans were never fully met, but he did manage to complete one final chamber work in 1917, his Sonata for violin and piano. Donald Macleod focuses on Debussy's late burst of creativity in 1915. | |
| 2016 | 01 | Mme Vasnier | 20160222 | Debussy's muse Mme Vasnier inspired the young composer, barely into his twenties, to produce twenty-seven of the forty-odd songs he wrote between 1880 and 1884. Over the course of the week Donald Macleod explores the musical fruits of Debussy's friendships with the society hostess Madame Vasnier, writer Pierre Louÿs, poets St退phane Mallarm退 and Maurice Maeterlinck and the ballet impresario Sergei Diaghilev. Born in 1862, Debussy's childhood was overshadowed by periods of uncertainty and poverty. His father Manuel was in and out of employment and his mother was obliged to work as a seamstress to make ends meet. During the Commune, Debussy's father enlisted in the National Guard but family life hit a further stumbling block after the movement was crushed in 1871 as Manuel Debussy was put on trial and imprisoned. On identifying a natural talent and a potential income, young Debussy was steered towards a career as a concert pianist. He began his studies at the Paris Conservatoire at the age of 10, the twelve or so years he spent there being the only formal education he received. By the time he graduated he had made many useful contacts, some of whom we'll encounter across this week, as well as coming to the conclusion that he should focus on composition rather than performance. Moonlight, evening and the trials and tribulations of love were subjects that preoccupied Debussy as a young man. Setting texts by the Parnassian poets, he wrote prolifically, with Madame Vasnier's high, soaring soprano voice very much in mind. With Donald Macleod. Debussy, orch. Andr退 Caplet Clair de lune Orchestra National de Lyon Jün Markl, conductor Fantoches Donna Brown, soprano St退phane Lemelin, piano Trio in G, 1st movement - Andantino con moto allegro The Florestan Trio La Damoiselle 退lue Ileana Cotrubas, soprano Glenda Maurice, mezzo Südfunkchor und Radio-Sinfonieorchester Stuttgart Gary Bertini, conductor Pour le piano Jean-Efflam Bavouzet, piano Regret St退phane Lemelin, piano. Debussy's relationship with Madame Vasnier, the muse who inspired many of his early songs. | |
| 2016 | 02 | Mallarme's Salon | 20160223 | Debussy's encounters with the poet St退phane Mallarm退, whose poem 'l'apr耀s-midi d'un faune' inspired Debussy's much loved orchestral version. Over the course of the week Donald Macleod explores the musical fruits of Debussy's relationships with the society hostess Madame Vasnier, writer Pierre Louÿs, poets St退phane Mallarm退 and Maurice Maeterlinck and the ballet impresario Sergei Diaghilev. Born in 1862, Debussy's childhood was overshadowed by periods of uncertainty and poverty. His father Manuel was in and out of employment and his mother was obliged to work as a seamstress to make ends meet. During the Commune, Debussy's father enlisted in the National Guard whereupon family life hit a further stumbling block after the movement was crushed in 1871, as Manuel Debussy was put on trial and imprisoned. On identifying a natural musical talent and a potential income, young Debussy was steered towards a career as a concert pianist. He began his studies at the Paris Conservatoire at the age of 10 and the twelve or so years he spent there were the only formal education he received. By the time he graduated he had decided to dedicate himself to composition rather than performance, and he had an address book full of contacts to help him on his way, some of whom we'll meet across this week. Today Donald Macleod looks at St退phane Mallarm退's influence on Debussy, through his verse and and the poet's famous Tuesday gatherings, an important rendezvous for Paris's artists, which Debussy attended regularly up until the older man's death in 1898. Petite Suite (Cort耀ge) Claire D退sert and Emmanuel Strosser, piano Apparition Natalie Dessay, soprano Philippe Cassard, piano Pr退lude | |
| 2016 | 03 | Pierre Louys | 20160224 | Debussy's association with the writer and poet, Pierre Louÿs, the friend he said he loved the most. Over the course of the week Donald Macleod explores the musical fruits of Debussy's relationships with the society hostess Madame Vasnier, writer Pierre Louÿs, poets St退phane Mallarm退 and Maurice Maeterlinck and the ballet impresario Sergei Diaghilev. Born in 1862, Debussy's childhood was overshadowed by periods of uncertainty and poverty. His father Manuel was in and out of employment and his mother was obliged to work as a seamstress to make ends meet. During the Commune, Debussy's father enlisted in the National Guard but family life hit a further stumbling block after the movement was crushed in 1871 as Manuel Debussy was put on trial and imprisoned. On identifying a natural talent and a potential income, young Debussy was steered towards a career as a concert pianist. He began his studies at the Paris Conservatoire at the age of 10, the twelve or so years he spent there being the only formal education he received. By the time he graduated he had made many useful contacts, some of whom we'll encounter across this week, as well as coming to the conclusion that he should focus on composition rather than performance. Continuing this week's exploration of Debussy's relationships, Donald Macleod examines his friendship with the writer and poet Pierre Louÿs, with whom he worked on several projects including Chansons de Bilitis as well as enjoying each other's company socially. Pour invoquer Pan (Six ɀpigraphes antiques) Jean-Pierre Armengaud, Olivier Chauzu, piano Ballade Pascal Rog退, piano Dawn Upshaw, soprano Gilbert Kalish, piano Images (Book 1) Marc-Andr退 Hamelin, piano Nuages, Fꀀtes (Nocturnes) London Symphony Orchestra Pierre Monteux, conductor. Donald Macleod examines Debussy's friendship with writer and poet Pierre Louys. | |
| 2016 | 04 | Maeterlinck | 20160225 | Debussy's attraction to the Belgian poet Maurice Maeterlinck's symbolist play resulted in his only complete opera. Over the course of the week Donald Macleod explores the musical fruits of Debussy's relationships with the society hostess Madame Vasnier, writer Pierre Louÿs, poets St退phane Mallarm退 and Maurice Maeterlinck and the ballet impresario Sergei Diaghilev. Born in 1862, Debussy's childhood was overshadowed by periods of uncertainty and poverty. His father Manuel was in and out of employment and his mother was obliged to work as a seamstress to make ends meet. During the Commune, Debussy's father enlisted in the National Guard but family life hit a further stumbling block after the movement was crushed in 1871 as Manuel Debussy was put on trial and imprisoned. On identifying a natural talent and a potential income, young Debussy was steered towards a career as a concert pianist. He began his studies at the Paris Conservatoire at the age of 10. The twelve odd years he spent there being the only formal education he received. By the time he graduated he had made many useful contacts, some of whom we'll encounter across this week, as well as coming to the conclusion that he should focus on composition rather than performance. Today Donald Macleod charts Debussy's twelve years of labour over his ground-breaking setting of the Belgian poet Maurice Maeterlinck's symbolist drama to music. Le Martyre de Saint-S退bastian, La Cour des lys Montreal Symphony Orchestra Charles Dutoit, conductor Le Balcon Nathalie Stutzmann, contralto Catherine Collard, piano P退ll退as et M退lisande, Act 3 (excerpt) Wolfgang Holzmair, P退ll退as, tenor Anne-Sophie Otter, M退lisande, mezzo-soprano Laurent Naouri, Golaud, baritone Orchestre National de France Bernard Haitink, conductor Ib退ria Orchestre National de Lyon Jun M䀀rkl, conductor. Donald Macleod discusses Debussy's attraction to Maeterlinck's play Pelleas and Melisande. | |
| 2016 | 05 LAST | Diaghilev | 20160226 | Debussy's rocky association with the Russian ballet impresario Sergei Diaghilev leads to his final orchestral work, 'Jeux'. Over the course of the week Donald Macleod explores the musical fruits of Debussy's relationships with the society hostess Madame Vasnier, writer Pierre Louÿs, poets St退phane Mallarm退 and Maurice Maeterlinck and the ballet impresario Sergei Diaghilev. Born in 1862, Debussy's childhood was overshadowed by periods of uncertainty and poverty. His father Manuel was in and out of employment and his mother was obliged to work as a seamstress to make ends meet. During the Commune, Debussy's father enlisted in the National Guard but family life hit a further stumbling block after the movement was crushed in 1871 as Manuel Debussy was put on trial and imprisoned. On identifying a natural talent and a potential income, young Debussy was steered towards a career as a concert pianist. He began his studies at the Paris Conservatoire at the age of 10. The twelve odd years he spent there being the only formal education he received. By the time he graduated he had made many useful contacts, some of whom we'll encounter across this week, as well as coming to the conclusion that he should focus on composition rather than performance. To conclude this week's series Donald Macleod looks at Debussy's difficult final years. As his health declines and money is in short supply, Debussy engages in a collaboration with the flamboyant ballet impresario Sergei Diaghilev. Doctor Gradus ad Parnassum Angela Hewitt, piano Violin Sonata Jennifer Pike, violin Martin Roscoe, piano London Symphony Orchestra Valery Gergiev, conductor En blanc et noir Vladimir Ashkenazy, piano Vovka Ashkenazy, piano. Donald Macleod discusses Debussy's rocky association with impresario Sergei Diaghilev. | |
| 2018 | 01 | You Have To Drown The Sense Of Key | 20180319 | Donald Macleod looks at the beginnings of Debussy's career as a composer and the early love interests of his life In the week of the centenary of the composer's death, Donald Macleod looks at the development of Debussy's career against the background of his turbulent personal life. 'At every crossroads in Debussy's life there was a woman', wrote his biographer Marcel Dietschy, and this week we meet them: from Mme Vasnier, the married singer with whom he conducted an affair during his early years as a struggling composer in Paris and Rome, to the bohemian Gaby Dupont, and his first wife Lily - who attempted suicide when Debussy left her for Emma Bardac. He would settle happily with Emma for the rest of his life, and in his prime, touring internationally as a conductor, wrote to her and their beloved daughter Chouchou, expressing his longing for home. In Monday's programme, Donald Macleod explores Debussy's life and loves from the end of his student days up to his early thirties and his first masterpiece: Pr退lude | |
| 2018 | 02 | Fin De Si\u00e8cle | 20180320 | 20190813 (R3) | Donald Macleod explores a period of Debussy's life spent languishing in fin-de-si耀cle Paris clutching several masterpieces but no money In the week of the centenary of the composer's death, Donald Macleod looks at the development of Debussy's career against the background of his turbulent personal life. 'At every crossroads in Debussy's life there was a woman', wrote his biographer Marcel Dietschy, and this week we meet them: from Mme Vasnier, the married singer with whom he conducted an affair during his early years as a struggling composer in Paris and Rome, to the bohemian Gaby Dupont, and his first wife Lily - who attempted suicide when Debussy left her for Emma Bardac. He would settle happily with Emma for the rest of his life, and in his prime, touring internationally as a conductor, wrote to her and their beloved daughter Chouchou, expressing his longing for home. In the second programme this week Donald Macleod looks at the kind of man Debussy was in his thirties, as he faced the 20th century. During the years of writing his opera Pell退as et M退lisande he was earning very little, while being supported and looked after by his partner Gaby Dupont. But that didn't stop him from abruptly proposing to another woman, Therese Roger, while still living with Gaby. Abandoned by several of his friends at this point, one recalled that he was typically 'lost in thought in the company of his genius', while Gaby pawned their belongings so they had enough money to live on. Et la lune descend sur la temple qui fut (Images) Jean-Efflam Bavouzet, piano Concert Suite, Pell退as et M退lisande (Act III-IV-V) Berliner Philharmoniker; Claudio Abbado, conductor Chansons de Bilitis Nathalie Stutzmann, alto; Catherine Collard, piano Nocturnes Concertgebouw Orchestra; Bernard Haitink, conductor. Donald Macleod looks at the kind of man Debussy was as he faced the 20th century. |
| 2018 | 03 | The Sea | 20180321 | 20190814 (R3) | Donald Macleod explores a Donald Macleod explores a short period in Debussy's life that scandalised Paris and turned most of his friends against him In the week of the centenary of the composer's death, Donald Macleod looks at the development of Debussy's career against the background of his turbulent personal life. 'At every crossroads in Debussy's life there was a woman', wrote his biographer Marcel Dietschy, and this week we meet them: from Mme Vasnier, the married singer with whom he conducted an affair during his early years as a struggling composer in Paris and Rome, to the bohemian Gaby Dupont, and his first wife Lily - who attempted suicide when Debussy left her for Emma Bardac. He would settle happily with Emma for the rest of his life, and in his prime, touring internationally as a conductor, wrote to her and their beloved daughter Chouchou, expressing his longing for home. Donald Macleod explores a traumatic period in Debussy's life when Parisian society, and many of his close friends, turned against the composer for abandoning his wife in virtual poverty to run off with a woman of the world, the rich wife of a banker, Emma Bardac. The works he wrote during these first few years of the 20th century reflect both his state of mind and his environment. Masques Steven Osborne, piano Estampes Jean-Yves Thibaudet, piano Trois Chansons de France Sarah Walker, mezzo soprano; Roger Vignoles, piano L'Isle Joyeuse Ulster Orchestra; Yan Pascal Tortelier, conductor Reflets dans l'eau (Mvt 1 Images) Jean-Efflam Bavouzet, piano Dialogue du vent et de la mer (La Mer) New Philharmonia Orchestra; Pierre Boulez, conductor. Donald Macleod looks at one of the most difficult periods of Debussy's life. |
| 2018 | 04 | A New World Dawns | 20180322 | 20190815 (R3) | Donald Macleod explores Debussy's contented domestic life in the years leading up to the First World War. In the week of the centenary of the composer's death, Donald Macleod looks at the development of Debussy's career against the background of his turbulent personal life. 'At every crossroads in Debussy's life there was a woman', wrote his biographer Marcel Dietschy, and this week we meet them: from Mme Vasnier, the married singer with whom he conducted an affair during his early years as a struggling composer in Paris and Rome, to the bohemian Gaby Dupont, and his first wife Lily - who attempted suicide when Debussy left her for Emma Bardac. He would settle happily with Emma for the rest of his life, and in his prime, touring internationally as a conductor, wrote to her and their beloved daughter Chouchou, expressing his longing for home. Several days ago I became the father of a little girl. The joy of it has overwhelmed me a bit and still frightens me' wrote Debussy to a friend in 1905. Donald Macleod looks at the only period of Debussy's life when he was happily settled into domesticity, but, accepting invitations to conduct abroad to earn a better income, was taken away from his family more than he wanted. Serenade for the Doll Noriko Ogawa, piano Poissons d'or (Images for piano Set 2) Marc-Andre Hamelin, piano Rondes de Printemps (Images) London Symphony Orchestra; Pierre Monteux, conductor La plus que lente San Francisco Symphony; Michael Tilson Thomas, conductor Trois Poemes de St退phane Mallarm退 Lorna Anderson, soprano; Malcolm Martineau, piano Jeux Hall退 Orchestra; Mark Elder (cond). Donald Macleod looks at the one time in Debussy's life when he was settled in domesticity. |
| 2018 | 05 LAST | Final Flowering | 20180323 | 20190816 (R3) | Donald Macleod looks at Debussy's final years, and a late burst of creativity in 1915 before a steep decline in his health In the week of the centenary of the composer's death, Donald Macleod looks at the development of Debussy's career against the background of his turbulent personal life. 'At every crossroads in Debussy's life there was a woman', wrote his biographer Marcel Dietschy, and this week we meet them: from Mme Vasnier, the married singer with whom he conducted an affair during his early years as a struggling composer in Paris and Rome, to the bohemian Gaby Dupont, and his first wife Lily - who attempted suicide when Debussy left her for Emma Bardac. He would settle happily with Emma for the rest of his life, and in his prime, touring internationally as a conductor, wrote to her and their beloved daughter Chouchou, expressing his longing for home. Donald Macleod looks at a remarkable three months towards the end of Debussy's life, spent at a villa on the Channel coast which was painted several times by Monet. He went there to escape wartime Paris in 1915 with his wife Emma and daughter Chouchou, and from his letters of the time we can tell that he fell in love with the place, enjoying its garden and expansive view of the sea. He felt so at home there that despite already being seriously ill and increasingly anxious about the war, his new environment encouraged a final burst of creativity. Berceuse H退roque Orchestre National de L'O.R.T.F; Jean Martinon, conductor En Blanc et Noir Katia Lab耀que, piano; Marielle Lab耀que, piano Cello Sonata Mstislav Rostropovich, cello; Benjamin Britten, piano Sonata for flute, viola and harp Philippe Bernold, flute; Gerard Causse, viola; Isabelle Moretti, harp. Donald Macleod looks at Debussy's final years, and a late burst of creativity in 1915. |
| 2022 | 01 | Breaking The Mould | 20220314 | Donald Macleod explores Debussy's life as he approaches his thirties, a challenging period both personally and musically. Today, Debussy picks up the threads of his life in Paris after an obligatory two-year stay in Rome as a prizewinner of the Prix de Rome competition. One of the 20th century's most original minds, the French composer Claude Debussy has had a profound influence on the course of music. Born in 1862, his precocious talent gained him admittance to the prestigious Paris Conservatoire as a ten-year-old, one of the youngest pupils in the piano class. There were soon indications of his independence of mind. His student years are littered with reports which, while recognising his gifts also found him to be careless and scatterbrained. Debussy found it difficult to focus on his lessons because he felt frustrated with the rules of composition he was told to follow. He wanted to express himself differently, and if he broke the rules to achieve that, well, in his view, so be it. This week Donald Macleod begins his stories at the point in Debussy's life where, the young man has dispensed with institutional restrictions. He was free to choose his own path. No more rules, no more regulations. There were still some practical considerations he would have to factor in to his plans. Having fulfilled, for the main, the requirements of the Prix de Rome, he needed to make a professional name for himself, and most urgently, earn some money! All in all, it would prove to be a difficult decade. In 1893 Paris's musical circles were treated to an example of Debussy's originality through a commission from St退phane Mallarm退. It resulted in one of the defining works of the twentieth century, Debussy's ground-breaking sensual orchestral evocation of the thoughts of a faun languishing on a hot afternoon.. Deux Arabesques Simon Trp?eski, piano Ineffable silence Donna Brown, soprano St退phane Lemalin, piano La damoiselle 退lue: Introduction ɀlue s'appuyait London Symphony Orchestra and Chorus Claudio Abbado, conductor String quartet in G minor, op 10 1st movement Anim退 et tr耀s d退cid退 Eb耀ne Quartet Rodrigue et Chim耀ne, arr. Edison Denisov & Richard Langham Smith Excerpt from Act 1 Rien encore, mon fr耀re Vous enfin! Mais non, je n'en crois rien | |
| 2022 | 02 | Double-dealing | 20220315 | Donald Macleod explores Debussy's life as he approaches his thirties, a challenging period both personally and musically. While his life remained one of extreme hardship, in 1890 Debussy met a young woman from Normandy who was willing to share a life together. One of the 20th century's most original minds, the French composer Claude Debussy has had a profound influence on the course of music. Born in 1862, his precocious talent gained him admittance to the prestigious Paris Conservatoire as a ten-year-old, one of the youngest pupils in the piano class. There were soon indications of his independence of mind. His student years are littered with reports which, while recognising his gifts also found him to be careless and scatterbrained. Debussy found it difficult to focus on his lessons because he felt frustrated with the rules of composition he was told to follow. He wanted to express himself differently, and if he broke the rules to achieve that, well, in his view, so be it. This week Donald Macleod begins his stories at the point in Debussy's life where, the young man has dispensed with institutional restrictions. He was free to choose his own path. No more rules, no more regulations. There were still some practical considerations he would have to factor in to his plans. Having fulfilled, for the main, the requirements of the Prix de Rome, he needed to make a professional name for himself, and most urgently, earn some money! All in all, it would prove to be a difficult decade. Debussy's eight-year relationship with Gabrielle Dupont was frequently tested to the limit, no more so than when he announced to his surprised friends that he was contemplating marriage...to a different woman, a singer by the name of Th退r耀se Roger. Images (1894) II: Souvenir de Louvre. Dans le movement d'un Sarabande Alain Plan耀s, piano Trois M退lodies de Verlaine I: La mer est plus belle que les cathedrals II: Le son du cor s'afflige vers les bois III: L'退chelonnement des haies moutonne | |
| 2022 | 03 | A Sordid Affair | 20220316 | Donald Macleod explores Debussy's life as he approaches his thirties. Today Debussy engages in some shady double-dealing in his private life which scandalises his close friend Chausson, with disastrous repercussions for his finances and his reputation. One of the 20th century's most original minds, the French composer Claude Debussy has had a profound influence on the course of music. Born in 1862, his precocious talent gained him admittance to the prestigious Paris Conservatoire as a ten-year-old, one of the youngest pupils in the piano class. There were soon indications of his independence of mind. His student years are littered with reports which, while recognising his gifts also found him to be careless and scatterbrained. Debussy found it difficult to focus on his lessons because he felt frustrated with the rules of composition he was told to follow. He wanted to express himself differently, and if he broke the rules to achieve that, well, in his view, so be it. This week Donald Macleod begins his stories at the point in Debussy's life where the young man has dispensed with institutional restrictions. He was free to choose his own path. No more rules, no more regulations. There were still some practical considerations he would have to factor in to his plans. Having fulfilled, for the main, the requirements of the Prix de Rome, he needed to make a professional name for himself, and most urgently, earn some money! All in all, it would prove to be a difficult decade. After breaking off a brief engagement to the singer, Th退r耀se Roger, it became clear that Debussy had not, as he claimed broken off an existing relationship with Gabrielle Dupont. Rumours began to circulate in Parisian artistic circles suggesting that Debussy had a murky history. Images (1894) III: Quelques aspects de 'Nous n'irons plus au bois' - I: Lent Paul Jacobs, piano Proses lyriques De fleurs Elly Ameling, soprano Irwin Gage, piano Wagner, transcribed by Debussy for 2 pianos, WWV 63 Overture to Der fliegende H怀llander Daniel Blumenthal, piano Pell退as et M退lisande, Act 4, sc 4 C'est le dernier soir, le dernier soir.....Quel est ce bruit Vannina Santoni, soprano, M退lisande Julien Behr, tenor, Pell退as Les Si耀cles Fran瀀ois-Xavier Roth, conductor Pell退as et M退lisande, Act 1, excerpt Pourquoi pleures-tu Alexandre Duhamel, baritone, Golaud Nocturnes I: Nuages Concertgebouw Orchestra Bernard Haitink, conductor Donald Macleod considers why Debussy's friendship with Chausson came to an abrupt end. | |
| 2022 | 04 | Lily Texier | 20220317 | Donald Macleod explores Debussy's life in his thirties, a challenging period both personally and musically. Today Donald follows the chain of events that result in the exit of Debussy's companion of eight years, Gabrielle Dupont, and the advent of her replacement in Debussy's affections, Lily Texier. One of the 20th century's most original minds, the French composer Claude Debussy has had a profound influence on the course of music. Born in 1862, his precocious talent gained him admittance to the prestigious Paris Conservatoire as a ten-year-old, one of the youngest pupils in the piano class. There were soon indications of his independence of mind. His student years are littered with reports which, while recognising his gifts also found him to be careless and scatterbrained. Debussy found it difficult to focus on his lessons because he felt frustrated with the rules of composition he was told to follow. He wanted to express himself differently, and if he broke the rules to achieve that, well, in his view, so be it. This week Donald Macleod begins his stories at the point in Debussy's life where, the young man has dispensed with institutional restrictions. He was free to choose his own path. No more rules, no more regulations. There were still some practical considerations he would have to factor in to his plans. Having fulfilled, for the main, the requirements of the Prix de Rome, he needed to make a professional name for himself, and most urgently, earn some money! All in all, it would prove to be a difficult decade. At the age of thirty-five Debussy began to feel he should get married. At the time he was preoccupied with his opera Pell退as et M退lisande. When he was introduced to Lily Texier, a model with long blonde hair, it seems he might have met a real life counterpart to the M退lisande of his imagination. Pell退as et M退lisande, Act 1 excerpt Une forꀀt Les Si耀cles Fran瀀ois-Xavier Roth, conductor Pell退as et M退lisande, Act 1, sc 3 Il fait sombre dans les jardins. Vannina Santoni, soprano, M退lisande Julien Behr, tenor, Pell退as Trois Nocturnes II: Fꀀtes Berlin Philharmonic Claudio Abbado, conductor Lindaraja for 2 pianos Alfons Kontarsky Aloys Kontarsky Pell退as et M退lisande, Act 3, Sc 1 Une des tours du ch teau - Mes longs cheveux descendent Oh ! Oh ! Qu'est-ce que c'est Laisse-moi ! Laisse-moi relever la tete Alexandre Duhamel, baritone, Golaud Hommage | |
| 2022 | 05 LAST | An Altered Conscience | 20220318 | Heading in to his forties Debussy was on the brink of one of the biggest upheavals in his life. He felt oppressed by the fame he'd achieved, and as he struggled to complete La mer, his notebooks reveal the inner turmoil of his thoughts. One of the 20th century's most original minds, the French composer Claude Debussy has had a profound influence on the course of music. Born in 1862, his precocious talent gained him admittance to the prestigious Paris Conservatoire as a ten-year-old, one of the youngest pupils in the piano class. There were soon indications of his independence of mind. His student years are littered with reports which, while recognising his gifts also found him to be careless and scatterbrained. Debussy found it difficult to focus on his lessons because he felt frustrated with the rules of composition he was told to follow. He wanted to express himself differently, and if he broke the rules to achieve that, well, in his view, so be it. This week Donald Macleod begins his stories at the point in Debussy's life where, the young man has dispensed with institutional restrictions. He was free to choose his own path. No more rules, no more regulations. There were still some practical considerations he would have to factor in to his plans. Having fulfilled, for the main, the requirements of the Prix de Rome, he needed to make a professional name for himself, and most urgently, earn some money! All in all, it would prove to be a difficult decade. When in 1902 Debussy met the then married Emma Bardac, it was to set off a chain of events that would lead to public scandal and tragedy. III. Dialogue du vent et de la mer Berlin Philharmonic Simon Rattle, director Estampes: No. 1. Pagodes Walter Gieseking, piano Le diable dans le beffroi, completed and orchestrated by Robert Orledge (excerpt) Allez, il faut nous pr退parer Un - deux - trois - (chorus) Les diable! C'est le Diable!... Le Diable mime Michael Dries, bell ringer, bass Virgil Hartinger, Jean, bell ringer's son, tenor Eugene Villanueva, baritone, Burgomaster G怀ttingen Symphony Orchestra St Jacobi Chamber Choir, G怀ttingen Christoph-Mathias Mueller, conductor Masques Steven Osborne, piano Fantaisie for piano and orchestra I: Andante ma non troppo Martha Argerich, piano Staatskapelle Berlin Daniel Barenboim, conductor Pell退as et M退lisande Act 5 (excerpt) Ou est-tu M退lisande - .. to the finale Vannina Santoni, soprano, M退lisande Alexandre Duhamel, baritone, Golaud Jean Teitgen, bass, Arkel Les Si耀cles Fran瀀ois-Xavier Roth, conductor Donald Macleod sees how Debussy's mid-life crisis triggers a tragic turn of events. | |
| 2024 | 01 | 'achilles' The Rascal | 20240429 | Donald Macleod explores Debussy's wayward youth, as the rebellious streak he adopted from his father leads to habits which will last a lifetime. In the music of Claude Debussy there have been said to run dangerous and destructive currents. His radical works did forge a path which would redefine music in the 20th century, but his beautiful music runs contrary to his shocking personal life. The Scottish soprano Mary Garden said of him, “I honestly don't know if he ever loved anybody really. He loved his music – and perhaps himself.” The lies and duplicity, deception and debt left other unfortunate people in their wake, with Debussy unrepentant throughout. In the aftermath of these scandals, Debussy was disowned by his friends, and by most of Parisian society, but the notoriety he gained only seemed to heighten his appeal with audiences. Over the course of this week, Donald Macleod tracks the scandalous life of Achille-Claude Debussy and tries to reconcile his appalling behaviour with his transcendent music. Today we find Debussy breaking all the rules at the Paris Conservatoire, where his music was decried as “bizarre, incomprehensible and unperformable.” We also follow the young Debussy as he spreads a trail of lies on his journeys across Europe. Donald tracks the rebellious streak present in Debussy's own father, and learns how Debussy adopted a precarious financial existence, beginning a habit of borrowing money he couldn't repay. Donald also tracks Debussy's first real relationship of note, with an older, married woman. However, none of this scandalous behaviour stops the young composer from winning the Prix de Rome – a prize Debussy wasn't at all pleased to win! Suite Bergamasque – III. Claire de Lune Samson François, piano La Mer – II. Jeux de vagues Philharmonia Orchestra Pablo Heras-Casado, conductor Ariettes Oubliee – No 5, Aquarelles I. Green Sabine Devieilhe, soprano Alexandre Tharaud, piano Images for Orchestra: II. Iberia Royal Concertgebouw Orchestra Bernard Haitink, conductor Mélodies de Jeunesse - III. Les Papillons Sandrine Piau, soprano Jos van Immerseel, fortepiano Recueil Vasnier, L 53: Romance – Silence ineffable Veronique Dietschy, soprano Emmanuel Strosser, piano Printemps – II. Modere Royal Liverpool Philharmonic Orchestra Vassily Petrenko, conductor Produced by Sam Phillips for BBC Audio Wales and West Donald Macleod explores Debussy's wayward youth. An informative guide to composers' lives and their music. | |
| 2024 | 02 | 'claude' The Bohemian | 20240430 | Donald Macleod explores as Debussy adopts a bohemian lifestyle. A romantic encounter seems set to lend some stability to his life... until Debussy makes a shock announcement. In the music of Claude Debussy there have been said to run dangerous and destructive currents. His radical works did forge a path which would redefine music in the 20th century, but his beautiful music runs contrary to his shocking personal life. The Scottish soprano Mary Garden said of him, “I honestly don't know if he ever loved anybody really. He loved his music – and perhaps himself.” The lies and duplicity, deception and debt left other unfortunate people in their wake, with Debussy unrepentant throughout. In the aftermath of these scandals, Debussy was disowned by his friends, and by most of Parisian society, but the notoriety he gained only seemed to heighten his appeal with audiences. Over the course of this week, Donald Macleod tracks the scandalous life of Achille-Claude Debussy and tries to reconcile his appalling behaviour with his transcendent music. In Tuesday's episode, Donald finds Debussy adopting a bohemian lifestyle in the French capital, frequenting Parisian cafes and mixing with some of the city's most controversial artists. However this lifestyle only makes his financial situation worse. Against all odds, a romantic encounter seems set to lend some stability to his life - until Debussy makes a shock announcement... Danse bohemienne Noriko Ogawa, piano Deux Arabesques Jean-Efflam Bavouzet, piano Rodrigue et Chimene (excerpt) (arr. Smith & orch. Denisov) Laurence Dale, tenor (Rodrigue) Donna Brown, soprano (Chimene) Orchestre de l'Opéra de Lyon Kent Nagano, conductor La damoiselle élue – Chorus: La damoiselle élue s'appuyait London Symphony Orchestra & Chorus Claudio Abbado, conductor Prélude à l'après-midi d'un faune Royal Scottish National Orchestra Stéphane Denève, conductor Proses Lyriques – III. De fleurs Christine Schafer, soprano Irwin Gage, piano Produced by Sam Phillips for BBC Audio Wales and West Donald Macleod follows Debussy as he adopts a bohemian lifestyle in Paris. An informative guide to composers' lives and their music. Donald Macleod finds Debussy adopting a bohemian lifestyle. A romantic encounter seems set to lend some stability to his life... until Debussy makes a shock announcement. |