The program begins with Debussy's 1906 transcription of the prelude to his cantata "La Damoiselle Élue," which is based on a poem and painting by Dante Gabriel Rossetti.
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On May 19163, the Staatskapelle Berlin, under its music director, Daniel Barenboim, will perform "La Damoiselle Élue," which Debussy called a "little oratorio," and the "Trois Ballades de François Villon," among the few songs he orchestrated himself.
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La Damoiselle élue s’appuyait sur la barrière d’or du ciel (La Damoiselle élue leaned on the golden barrier of heaven).La Damoiselle élue, Centre de documentation Claude Debussy, 2007. Du haut du paradis, une jeune fille se lamente sur l'absence de son amant. Sur Terre, ce dernier croit sentir sa présence (From the heights of paradise, a young girl laments the absence of her lover.
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La Damoiselle élue (The Blessed Damozel), L. 62, is a cantata for soprano soloist, 2-part children's choir, 2-part female (contralto) choir (with contralto solo), and orchestra,IMSLP: La damoiselle élue (Debussy, Claude). Holograph manuscript, n.d.(ca.1902) composed by Claude Debussy in 1887–1888 based on a text by Dante Gabriel Rossetti. It premiered in Paris in 1893.
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Like most of Brome's comic works, The Damoiselle can be placed in the broad category of "city comedy." Again like most of Brome's comedies, the influence of Ben Jonson is readily detectable. In the view of one critic, "Brome's Damoiselle seems to be deliberately constructed as a mirror image" of Jonson's 1629 play The New Inn.Alison Findlay, "Gendering the Stage," in: A Companion to Renaissance Drama, edited by Arthur F. Kinney; London, Blackwell, 2002; pp. 406–7.
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They were buried in the church. The seigneurie of the Lys fell to their third son, Henri de Marcq, married to the damoiselle Louise de Boullan. Around 1650, Henri de Marcq died.
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No firm evidence for the original date of The Damoiselle has survived. The play is generally dated to 1637–38 on the basis of internal evidence, especially the Prologue's reference to poets who want to be called "Sir Laureate." After the death of Ben Jonson in 1637, there was competition among literary men (Sir William Davenant and Thomas May were prime candidates) for the honour of poet laureate. The Damoiselle was first acted by Queen Henrietta's Men at the Salisbury Court Theatre.
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The Damoiselle, or the New Ordinary is a Caroline era stage play, a comedy by Richard Brome that was first published in the 1653 Brome collection Five New Plays, issued by Humphrey Moseley, Richard Marriot, and Thomas Dring.
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La Damoiselle élue belongs to the same period of composition as the Cinq poèmes de Charles Baudelaire, when Debussy was influenced by the music of Richard Wagner. The composer chose to distance himself from this musical influence, while remaining faithful to symbolist literature, when composing his opera Pelléas et Mélisande in the 1890s. Patterns such as fleur- de-lys returned to his stage music for Le Martyre de saint Sébastien (1910–1911). La Damoiselle élue premiered in Paris at the Salle Érard on 8 April 1893, sponsored by the Société Nationale de Musique, sung by Julia and Thérèse Robert, and conducted by Jean Gabriel-Marie.
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Like other Brome plays of the 1630s — The Weeding of Covent Garden, The New Academy, and The Sparagus Garden — The Damoiselle takes part in the trend toward "place realism" that was fashionable at the time, as evidenced by Shackerley Marmion's Holland's Leaguer (1631), James Shirley's Hyde Park (1632), and Thomas Nabbes's Covent Garden (1633) and Tottenham Court (1634). Brome sets some scenes in The Damoiselle in the "Temple Walks" of the Middle Temple, one of the Inns of Court.Steggle, pp. 130–6. Brome exploits the legal atmosphere of the Walks to make points of satire and social criticism, and shows familiarity with the peculiarities of the place.
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Nuits d'été, La damoiselle élue & Shéhérazade, cond. Ozawa, Sony Classical Theta CD, SMK 60031, 1987 In 2016, Sony released the album on CD (in a miniature replica of its original LP sleeve) with a 52-page booklet in their 18-CD collection Frederica von Stade: The Complete Columbia Recital Albums (catalogue number 88875183412).
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In 2017, Debussy's cantata La Damoiselle élue and Honegger's dramatic oratorio Jeanne d'Arc au bûcher were combined, staged by Àlex Ollé, conducted by Marc Soustrot, and co-produced with the Teatro Real Madrid. Oper Frankfurt was voted 1996, 2003, 2015, 2018 and 2020 "Opera House of the Year" by the magazine Opernwelt.
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Debussy sent his music score to the Académie des beaux-arts as an entry for the Prix de Rome.La Damoiselle élue. FL 69, website of the bibliothèque nationale de France It was published in 1892. Debussy revised his orchestration for the piece in 1902, and in 1906 made a piano reduction of the orchestral part.
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She has appeared several times at the BBC Proms. In 1986, she sang the solo part in the Proms premiere of Luciano Berio's Epifanie In 1987, she took the role of the Wood Dove in Schoenberg's Gurre-Lieder in a performance directed by Pierre Boulez. In 1988, she sang in Debussy's cantata La Damoiselle élue.
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Rossetti chose to represent the situation in reverse. The poem describes the damozel observing her lover from heaven, and her unfulfilled yearning for their reunion in heaven. The poem also was the inspiration for Claude Debussy's La Damoiselle élue (1888), a cantata for two soloists, female choir, and orchestra. The first four stanzas of the poem are inscribed on the frame of the painting.
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Debussy, Ravel and Poulenc all acknowledged Chabrier's influence on their music. Debussy wrote in 1893 "Chabrier, Moussorgsky, Palestrina, voilà ce que j'aime" – they are what I love,Howat (2011), p. 34 and said that he could not have written La Damoiselle élue without Chabrier's La sulamite as a model. Huebner remarks on echoes of Chabrier in Debussy's "La soirée dans Grenade" in Estampes, and the piano prelude "Général Lavine – excentric".
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La Damoiselle élue, IMSLP. It was the first of Debussy's works for orchestra to be performed. The premiere was a success, and music critic Pierre Lalo wrote in Le Temps: "Such are the grace and delicacy of his taste that all his audacities are welcome" ("telles sont la grâce et la délicatesse de son goût que toutes ses audaces sont heureuses").Ariane Charton, Debussy, Éditions Gallimard folio biographies, 2012.
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The subject of usury is crucial to Brome's The Damoiselle, and links the play to a group of anti-usury plays that appeared in the 1630s. Though usury had been treated onstage many times previously — consider Robert Wilson's The Three Ladies of London, Marlowe's The Jew of Malta, and Shakespeare's The Merchant of Venice — John Blaxton's book The English Usurer, published in 1634, made the subject topical at the time.
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Schools to teach manners and social customs for the nouveau riche of expanding economies were a phenomenon of the era. James Shirley's earliest extant play, Love Tricks, centres on this phenomenon; it was first published in 1631 under its subtitle, The School of Compliment. Other Caroline dramatists and non- dramatic writers also commented on the trend. Brome includes views of this phenomenon in his plays The Sparagus Garden and The Damoiselle.
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In the sense that the word is used in The Damoiselle and in English Renaissance drama generally, an "ordinary" is a public eating establishment, comparable to modern restaurants and cafeterias. One source defines ordinaries as "Eating-houses with table d'hôtes" [sic].Andrew Lang (Introduction), Social England Illustrated: A Collection of XVIIth Century Tracts, Westminster, Archibald Costable and Co., 1903; p. 369. Ordinaries were generally classed with taverns as similar institutions,Charles Knight, ed.
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Smith recorded both operatic and concert music. She sang the role of Lola in Cavalleria rusticana in 1953, alongside Zinka Milanov, Jussi Björling and Robert Merrill, with Renato Cellini conducting the Robert Shaw Chorale and the RCA Victor Symphony Orchestra. Smith was a soloist in a recording of Debussy's cantata La Damoiselle élue alongside Victoria de los Angeles, conducted by Charles Munch in 1955. She recorded Beethoven's Missa solemnis, Verdi's Messa da Requiem and de Falla's El amor brujo.
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32 – but Chopin's influence is found in other early works such as the Two arabesques (1889–1891).DeVoto (2003), p. 179 In 1914 the publisher A. Durand & fils began publishing scholarly new editions of the works of major composers, and Debussy undertook the supervision of the editing of Chopin's music. Although Debussy was in no doubt of Wagner's stature, he was only briefly influenced by him in his compositions, after La damoiselle élue and the Cinq poèmes de Baudelaire (both begun in 1887).
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On 27 August 1591, a pension in the amount of 100 écus in gold was established by the Chambre des Comptes of Navarre in favor of his widow, Damoiselle Loyse d'Aboval, for the services rendered by her husband. #### Jean de Laforcade, Seigneur de La Fitte-Juson,Etcheverry (1943), p. 6 (in French) aka Jean de La Fourcade, aka Jean de Lafourcade, aka Jean Lafourcade (c. 1555–c. 1639), lawyer, son of the preceding Noble Jean de Laforcade, Seigneur de La Fitte.
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For French Radio she sang in Isoline (1947) and Madame Chrysanthème (1956), by André Messager. Micheau was also active in concert especially in 18th century French works such as Rameau's Les Indes galantes and Platée. She made many recordings, of which some have been released on CDs. Concert works in her repertoire included Shéhérazade by Ravel, Le martyre de Saint Sébastien and La Damoiselle élue by Debussy, songs by Milhaud and Debussy, and À la musique by Chabrier (which she also recorded).
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P.P.M.P.C. (Book 2, 1913). He set Dante Gabriel Rossetti's The Blessed Damozel in his early cantata, La Damoiselle élue (1888). He wrote incidental music for King Lear and planned an opera based on As You Like It, but abandoned that once he turned his attention to setting Maeterlinck's play. In 1890 he began work on an orchestral piece inspired by Edgar Allan Poe's The Fall of the House of Usher and later sketched the libretto for an opera, La chute de la maison Usher.
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The first season ended on June 26, 1913, with a performance of Pénélope, and the new one opened on October 2 with the same work. On October 9 d'Indy conducted Carl Maria von Weber's opera Der Freischütz. On October 15 Debussy conducted the Ibéria section from his orchestral triptych Images pour orchestre, and a week later he conducted his cantata La Damoiselle élue. By November 20 Astruc was out of money and was ejected from the theatre, and the sets and costumes were impounded.
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In 1914 she sang a role in the cantata La Damoiselle élue at the French embassy in London. The same year, she attended the Picture Ball at Albert Hall and was profiled in the Kingston Gleaner, which wrote that "she has inherited a great sense of humour from her famous father." Later in 1914 she trained as a nurse at St Bartholomew's Hospital, having been a life saver from 1908, when she passed the tests provided by the Royal Life Saving Society in 1908.
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Using the poetry of medieval poet Charles, Duke of Orléans, the first and third songs were revised from an earlier version composed in 1898 for a choir belonging to his friend Lucien Fontaine. He finished the second song in 1908 and the completed Trois Chansons was published by Auguste Durand the same year. The first performance was in March 1909 with eight singers from the Engel-Bathori choir. The following month, he conducted the piece at Concerts Colonne along with his composition La Damoiselle élue.
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Frances has been raised in France, and speaks broken English; she is the "damoiselle" of the title. She gives lessons in French deportment to other ladies; Magdalen and Jane Bumpsey become her students, allowing for comedy on the contrasts of French and English manners. Wat Vermine is working for "Osbright," helping him to arrange his raffle (it was Dryground/Osbright who bailed Wat from the Counter). But the young gentlemen investing in the raffle become an unruly "rabble," abusing Wat and threatening to duck him or throw him in the Thames.
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First page of Marie de Romieu's "Les Prémières Oeuvres" The first work signed by “Marie de Romieu” surfaced in Paris in 1581, titled Les Premières Oeuvres Poétiques de ma Damoiselle Marie de Romieu Vivaroise. A sort of anthology of verse, it contained occasional brief pieces flattering some authority figures in Viviers. Premières Oeuvres features de Romieu's discourse on the superiority of women as its opening piece. The entirety of the work was made up of a mixture of styles common to the Renaissance which included elegies, eclogues, odes, sonnets and hymns.
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Debussy's musical development was slow, and as a student he was adept enough to produce for his teachers at the Conservatoire works that would conform to their conservative precepts. His friend Georges Jean- Aubry commented that Debussy "admirably imitated Massenet's melodic turns of phrase" in the cantata L'enfant prodigue (1884) which won him the Prix de Rome. A more characteristically Debussian work from his early years is La Damoiselle élue, recasting the traditional form for oratorios and cantatas, using a chamber orchestra and a small body of choral tone and using new or long-neglected scales and harmonies.Jean-Aubry, Georges. (trans.
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A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments. With early influences including Russian and Far Eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans.
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2, Spring 2004 Altogether more dignified was her performance a few months later with the New York Philharmonic at Carnegie Hall singing La Damoiselle élue by Debussy. Her performance was under the baton of Arturo Toscanini, who would become her greatest supporter and lifelong friend. She sang her first performance at the Metropolitan Opera as Manon on February 13, 1937, replacing the Spanish soprano Lucrezia Bori. The critics, including Olin Downes of The New York Times, raved about her performance and within a few weeks she was given the lead in La traviata, followed soon thereafter by Mimì in La bohème.
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Orchestre Philharmonique des Pays de Loire / Marc Soustrot. Larger works recorded in Bonn include Beethoven's Leonore (1806 version) with the Kölner Rundfunkchor and Orchester der Beethovenhalle Bonn, and Krenek's opera Karl V. David Pittman-Jennings / Marc Soustrot / Ernst Krenek: Karl V AllMusic He recorded Penderecki's St Luke Passion with the WDR Rundfunkchor Köln, the NDR Chor and the Mainzer Domchor.Marc Soustrot / Penderecki: Passio et mors Domini nostri Jesu Christi secundum Lucam AllMusic In 2009 Soustrot recorded Philippe Gaubert's Le Chevalier et la DamoiselleLe Chevalier et la Damoiselle and other works with the Orchestre philharmonique du Luxembourg. He recorded in 2015 Honegger's Jeanne d’Arc au bûcher with the Orquestra Simfònica de Barcelona.
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Claude Debussy was interested in the symbolist movement and later took inspiration from a poem by Stéphane Mallarmé for his Prélude à l'après- midi d'un faune (1894). Reading an anthology of English poetry translated by Gabriel Sarrazin, "Poètes modernes d’Angleterre" (1883) gave Debussy the idea of composing a cantata on the poem "The Blessed Damozel" (1850) by Pre- Raphaelite poet and painter Dante Gabriel Rossetti.Caroline Rae, La Damoiselle élue, Claude Debussy, website of the London Philharmonic Orchestra, accessdate 13 June 2016. Debussy had probably not seen Rossetti's painting of the same title, but other pre-Raphaelite illustrations with a focus on "a new type of feminine beauty".
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DamoiselleKerstrat, Jean-Louis de, MEMODOC, Qualifications nobiliaires, titres de noblesse, ecuyer, chevalier, noble homme, messire, gentilhomme (in French) Marie d'Aramitz is named as "…widow of the late Jehan de Peyré, Seigneur of the noble house of Lisabe and Casamayeur by conquest, and the aforesaid d'Aramitz, gives usufruct of the aforesaid house of Lisabe and Casamayeur in Toisvilles…", in an act dated 28 November 1613.Jaurgain, Les Trois Mousquétaires, pp. 23–24 (in French) Damoiselle Marie d'Aramitz and Dame of the noble house of Troisvilles, signed an act marie daramits at the royal notary in Soule on 1 October 1628.Jaurgain, Les Trois Mousquétaires, p.
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Her head is out of proportion to her body, and her forehead unusually and fashionably high, a device which allows the artist to concentrate on the facial features of his wife. In addition, the geometric pattern formed by her head-dress, arms and the V of her neck-line allows her face to dominate the image.Campbell, 32 The couple likely married around 1432–33, soon after his move to Bruges - she is unmentioned before he relocated while the first of their two children was born in 1434. Very little is known of Margaret, even her maiden name is lost - contemporary records refer to her mainly as Damoiselle Marguierite.
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He married Noble Marie de Laurière, Damoiselle de Moncaut c. 1630 and died before 27 May 1656. Marie's father, Joseph de Laurière, Baron de Montcaut, in the Brulhois, made a notarized contract of sale in her favor after his death, for a noble smallholding in the jurisdiction of Galapian on 21 November 1657. When she submitted her inventory of assets for the smallholding of de Martet, separate from those of the seigneurie de Galapian, to the Trésorier de France on 23 November 1670, she did so as the widow of Jean de Forcade, Seigneur de Saint-Genest. One son was born from this marriage, Louis de Forcade, Seigneur de Caubeyran, around 1630.
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On 2 November 1984, CBS Masterworks released the album on LP (catalogue numbers IM 39098 in Britain, M 39098 in the USA) with sleeve notes by Barrymore Laurence Scherer and an insert with texts and translations. The album was also issued on cassette (catalogue numbers IMT 39098 in Britain, MT 39098 in the USA). Also in 1984, CBS Masterworks issued the album on CD (catalogue number MK 39098), with a 20-page booklet including the same notes, texts and translations as were provided with the LP.Frederica von Stade: Nuits d'été & La damoiselle élue, Sony CD, MK 39098, 1984. In 1987, Sony issued a compilation CD (catalogue number SMK 60031) that supplemented the contents of the album with von Stade's recording of Ravel's Shéhérazade.
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Very little is known of Margaret; even her maiden name is lost – contemporary records refer to her mainly as Damoiselle Marguerite. She may have been of aristocratic birth, though from the lower nobility, evidenced from her clothes in the portrait which are fashionable but not of the sumptuousness worn by the bride in the Arnolfini Portrait. Later, as the widow of a renowned painter Margaret was afforded a modest pension by the city of Bruges after Jan's death. At least some of this income was invested in lottery.Van Der Elst (2005), 65 Van Eyck undertook a number of journeys on Philip the Duke of Burgundy's behalf between 1426 and 1429, described in records as "secret" commissions, for which he was paid multiples of his annual salary.
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He painted a portrait of her at the piano in 1890. He designed a flowing lithograph, featuring Marthe, for the cover for the sheet music of La Damoiselle élue by Claude Debussy, as well as another lithograph for the poem Pelléas et Mélisande by Maurice Maeterlinck, which Debussy transformed into an opera; and in 1894 he painted La Petit Air, based on the poem Princesse Maleine by Stéphane Mallarmé, the most prominent literary proponent of symbolism. In 1893 made a collaborative project with the writer André Gide, which combined art and literature; he provided a series of thirty lithographs to accompany a long essay by Gide, called Le Voyage d'Urien. The Lithographs did not illustrate the text, but approached the same topics from an artist's point of view.
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During 2017 he premiered the Christoph Willibald Gluck's Alceste at Opéra Lyon, and the Jeanne d'Arc au Bûcher (Arthur Honegger) and La damoiselle élue (Claude Debussy) diptych, co-produced between Oper Frankfurt and Teatro Real de Madrid. In 2018, he adds to his constant review of the Faust's myth, the Mefistofele by Arrigo Boito, co-produced by the Opéra de Lyon and the Staatsoper Stuttgart. In 2019, he premiered the newly-created contemporary opera Frankenstein at the theater of La Monnaie de Munt, Brussels, with music by Marc Gray and libretto by Júlia Canosa, based on an original idea of Àlex Ollé inspired by the Mary Shelley's novel. In July, he premieres Turandot one of Giacomo Puccini's great operas, at the Tokyo Bunka Kaikan theater within the programming of the Cultural Olympiad Tokyo 2020, that tours in Japan to three other opera theaters.
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He has recorded several discs dedicated to Schubert. His recording of Brahms' Klavierstücke Op 116 to 119 was released in 2010. In 2012, several projects related to Debussy were born: complete solo piano projects played in one day (Orchestre Philharmonique de Liège, Lille Piano(s) Festival, Toulouse d'Été, Paris Salle Gaveau); a collaboration with soprano Natalie Dessay in a program that included youth melodies, 4 of which had never been performed before, as well as La Damoiselle élue cantata. Recitals accompany the release of this CDVirgin Classics. at the Wigmore Hall of London, the salle Pleyel in Paris, the Victoria Hall of Geneva, the , the Corum of Montpellier and finally a CDPublished by Decca in January 2012, followed by about fifteen concerts in France and abroad, including the Philharmonie de Liège, the Musée d'Orsay in Paris, the Vancouver Festival. of works for 4 hands and 2 pianos (Prélude à l'après-midi d'un faune, Petite suite, En blanc et noir, Lindaraja,Lindajara on data.bnf.
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In a letter to Jacques Durand on 3 September 1907, Debussy writes "I am more and more convinced that music, by its very nature, is something that cannot be cast into a traditional and fixed form. It is made up of colors and rhythms"; he found suitable material in the imagery of these poems. Debussy may have begun creating the work for an intended performance in New York City, promoted and sponsored by Prince André Poniatowski, a banker and writer, and a confidant to whom Debussy frequently expressed himself in long letters. The New York performance was to consist of the premiere of Debussy's Fantaisie for piano and orchestra completed two years earlier, a rather traditional work in classical form but a tradition which Debussy in the next two years would reject and musically move away from (resulting in the Fantaisie never being performed or published in his lifetime); his experimental oratorio La Damoiselle élue, from four years prior, also still unperformed as yet; and the Twilight Scenes, which Debussy told the prince were "pretty much finished" even though he hadn't put anything on paper yet.
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