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Music manuscripts from the collection of Helmut Nanz
Claude Debussy (1862-1918)
Autograph manuscript, 'Fugues et Contrepoint', [c.1880]
細節
Claude Debussy (1862-1918)
Autograph manuscript, 'Fugues et Contrepoint', [c.1880]
In black ink, approximately 110 exercises in two to eight staves, at times with the instructions 'Note contre Note' or 'Fleuri', one theme attributed to 'Chérubini' and two to 'Bazin', title and 27 pages, 272 x 353mm, with emendations and comments ('un des meilleurs') in pencil, perhaps by Debussy's composition teacher Ernest Guiraud, in three gatherings. In a modern folder.
Student exercises in fugues and counterpoint. Debussy joined the composition class of Ernest Guiraud (1837-1892) at the Paris Conservatoire in 1880, and under his guidance was to win the second Prix de Rome in 1883 and the first prize in 1884. Guiraud was a composer of operas, perhaps best known now for the recitatives he added to Bizet's Carmen. He was respected as a teacher and 'liked Debussy, but was barely able to grasp his brilliant pupil's new ideas of harmony and colour' (New Grove).
Autograph manuscript, 'Fugues et Contrepoint', [c.1880]
In black ink, approximately 110 exercises in two to eight staves, at times with the instructions 'Note contre Note' or 'Fleuri', one theme attributed to 'Chérubini' and two to 'Bazin', title and 27 pages, 272 x 353mm, with emendations and comments ('un des meilleurs') in pencil, perhaps by Debussy's composition teacher Ernest Guiraud, in three gatherings. In a modern folder.
Student exercises in fugues and counterpoint. Debussy joined the composition class of Ernest Guiraud (1837-1892) at the Paris Conservatoire in 1880, and under his guidance was to win the second Prix de Rome in 1883 and the first prize in 1884. Guiraud was a composer of operas, perhaps best known now for the recitatives he added to Bizet's Carmen. He was respected as a teacher and 'liked Debussy, but was barely able to grasp his brilliant pupil's new ideas of harmony and colour' (New Grove).
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