debussy en conservatorium

music for flute, cymbalom and bass by Peter Lunow .

Marieke Schneemann, fluit

Michiel Weidtner, cymbalom

Ernst Glerum, contrabas

4 okt. 2018 .         In een uitstekend boek over Debussy,”a painter in music”, van de muziekcriticus en musicoloog Stephen Walsh:

“With him ‘epater le bourgeois’ was never an issue; on the contrary his watchword was beauty and he honestly felt that attentive listeners would be able to hear and appreciate this quality if only they could shake off their attachment to the familiar and predictable in the standard repertoire. it turned out that they could. His music never seems to have created significant problems for audiences, although critics were wary of it because  it didn’t meet their normal criteria of elucidation or assessment. Debussy’s main enemy was the Conservatoire and the book of rules that were supposed to tell you what you could and couldn’t do as a composer to respond to an inner voice.”

en

“Much of what happened to music-and in art in general-in the 20th century marked a break, conscious or not, with the 19th century. The past was an orphan parent, rejected by its children, despised by its grand-children. Debussy, too, found fault with his forebears and tried to do things differently from them, But while he questioned their methods, he never doubted their fundamental intention, which was to create beauty and to share sensibilities, to communicate wonder at the richness of the world around us and the various ways our senses give us of responding to it. His music is without ideology and without doctrine. Like the world, it simply is, take it or leave it.”