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Claude Debussy

Currency:USD Category:Collectibles / Autographs Start Price:NA Estimated At:18,000.00 - 20,000.00 USD
Claude Debussy

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Auction Date:2018 Jun 13 @ 18:00 (UTC-5 : EST/CDT)
Location:236 Commercial St., Suite 100, Boston, Massachusetts, 02109, United States
ALS - Autograph Letter Signed
ANS - Autograph Note Signed
AQS - Autograph Quotation Signed
AMQS - Autograph Musical Quotation Signed
DS - Document Signed
FDC - First Day Cover
Inscribed - “Personalized”
ISP - Inscribed Signed Photograph
LS - Letter Signed
SP - Signed Photograph
TLS - Typed Letter Signed
Superb collection of four ALSs in French by Debussy, two signed “A. Debussy” and two signed “Claude Debussy,” totaling ten pages, dated between 1885 and 1909. The most remarkable letters are a pair from 1885, both signed “A. Debussy,” written to Monsieur Vasnier during Debussy’s residence at the Villa Medici, describing his unhappiness with the environment there. The first, undated but from May 1885, in part (translated): “I think that the seduction the contemplation of masterpieces exerts on the imagination demands a completely different moral state than that in which I am. You know my character very well, and you also know how much I am subject to ambient influences, and as well how this entire city oppresses, annihilates me. I am suffocating and am perfectly incapable of any good motion to shake up all this vile torpor, which makes me see things in a detestable light. That doesn’t go so far as to have lost the sense for beautiful things, but I don’t love them as one should, and so that it would be truly profitable for me. All this because I am here by virtue of a decree forcing me to feel the shadow of the Academy weighing down upon me. Oh! the Villa Medici is so full of the academic legend, from the doorman in this green uniform to the Director, who raises his gaze to the sky with an ecstatic air every time he speaks of it, and the encomiums that have been held on Michelangelo, Raphael, etc. sound like speeches given on their admission to the Academy. I am quite sure that Michelangelo would really laugh if he heard all that. I don’t know if I am mistaken, but it seems to me that Michelangelo is modernism pushed to its outermost limitations; he ventured up to the point of madness, and I think that if one followed his path, it wouldn’t lead you straight to the Institute. It is true that we are lads who are too small to venture down these paths…I am quite afraid that if I stay here too long I will lose a lot of time for nothing, that that will be the death of many of my artistic projects, and I tell you quite frankly of not being able to wait for the moment of my deliverance.” Winning the Prix de Rome in 1884 with the cantata ‘L’enfant prodigue [The Prodigal Child],’ Debussy was given a scholarship for a four-year residence at the Villa Medici to further his studies and focus on his creative work. As he describes in the present letter, he found the atmosphere miserable and stayed there for the minimum permitted period of two years before returning home to Paris.

The second, June 4, 1885, in part (translated): “Fever…has recurred very strongly. At last, for some days I am feeling better and hope to be rid of it. Ah! That, for example, has not increased my liking of the villa. On the contrary, I assure you that I often got the idea of leaving these horrid barracks where life is so sad and fever is too easy to get. And there are people who extolled, glorified the climate of Italy. I find this assertion a bit sinister…Unfortunately, your letter, where the most judicious arguments are condensed—so much that I can’t get the slightest observation in—combatted my temptation to flee, and it appears that it is right, as I am still here, and I am going to sit down to work…I have changed my mind for my first work to be sent in, and I won’t do it, as I had intended, with Zuleima. It is too old and feels the old leash too much. These great imbeciles of verses which are only great by virtue of their length are insufferable, and my music would be in the situation of toppling under the weight. Then a more serious matter is that, I think I could never lock my music into too correct a form. I hasten to tell you that I am not speaking of musical form. It is simply from a literary point of view. I would always like best a thing where in some way the action will be sacrificed to the expression of the feelings of the soul, pursued at length; it seems to me that there the music can make itself more human, more true to life that one can discover and refine the means of rendering it. I don’t know if I have already spoken to you about Diane au bois [Diane in the Woods], by Th. de Banville. I think I did, and it is indeed that which is going to be the attempted project and first work submitted. There is one more reason to make me do Diane. It is that it in no way reminds me of the poems which are used for submitted works, which are basically only perfected cantatas. Thank God I have enough of one and it seems to me that one must profit by the only good thing the villa has (one of your arguments), i.e., the complete freedom to work, to make an original thing and not always fall back into the same path.” Although he mentions changing his mind about submitting ‘Zuleima’ to the Academy, in the end Debussy abandoned ‘Diane in the Woods’ and stayed with his original choice. Along with the two other works he sent in, ‘Zuleima’ was poorly received and criticized as being strange, lacking clarity and precision, and vague.

The third letter is to an unnamed recipient, November 24, 1907, mentioning a manuscript. The final letter, also to an unnamed correspondent, February 23, 1909, concerns a situation with his brother, in part (translated): "I was put in a ridiculous situation by the immature resolutions of my brother who, without any prior notice, resigned from the Companie des Chemins de Fer, to take a position as manager in a Havre factory…Let me take refuge in my music, which you, so kindly, like. It is the only argument that can still speak in my favor.”

In overall fine condition, with a partial separation to the adjoining fold of one letter. A particularly desirable selection of letters as two feature spectacular musical content from an early stage in his development as a composer.