Debussy
Claude Achille Debussy (1862–1918) although talked of in another chapter, must be mentioned as a composer of tone poems in this. Among his most famous works are Après-midi d’Un Faune, La Mer, Les Nuages, Fêtes, and Sirènes which are all surpassingly lovely, written in Debussy’s special harmonies with which he wove a mystical, far away atmosphere, so compelling and yet so magical that you think you are in a mysterious cloudland. He usually uses a scale of whole tones. In Pelleas and Melisande, his greatest work (opera) you seem to look into a distant land which never did and never will exist, except in the glorious reaches of his or our imaginations. So to those of us who love fairy realms, cloudland and beauty of idea and serene expression, Debussy will be a rare treat and never vanish from our mind’s ear.
Ravel
Maurice Ravel (1875) still living in Paris, seems to love Spanish themes as did Chabrier and Bizet. One of the loveliest tone poems is his Rhapsodie Espagnole in four movements. His Mother Goose suite and La Valse are also lovely, modern, short orchestral works.
He writes with rare distinction and beauty. In the chapter on 20th century music, Ravel will make another appearance.
Paul Dukas (1865)
Among the most humorous and delightful tone poems is L’Apprenti-Sorcier (The Sorcerer’s Apprentice) by Paul Dukas (1865). Dukas too, will appear in another chapter.
CHAPTER XXVIII
Late 19th Century Composers Write New Music on Old Models
Brahms in Germany—Franck in France
After calling Beethoven a Colossus, there does not seem to be room for any one else, and yet Brahms (1833–1897) is no less of a genius. You will often hear people speak of “the three Bs,”—Bach, Beethoven and Brahms; and of these, Brahms being closer to our own day has had the advantage and influence of the past. But perhaps he also had the disadvantage of having had some one else say what he would like to have been the first to say! That Brahms continued the things that Beethoven began, may be understood from the fact that many call Brahms’ first symphony The Tenth, meaning that Brahms had begun his symphonies where Beethoven left off.