Debussy holds the chord, it dies away and then the strangest chord appears — the only home chord of the piece. "It's home," Kapilow says, "but it hasn't resolved.

Claude Debussy died a century ago, but his music has not grown old. Bound only lightly to the past, it floats in time. As it coalesces, bar by bar, it appears to be improvising itself into being ...

Debussy, however, never got around to orchestrating it, and the composer whom he authorized to complete the work, Henri Busser, opted to take a more orthodox route, without the chorus.

Debussy himself wished to write an opera on the theme of Tristan and Isolde, which would be in exact style variance with the Wagnerian version. How much of this he completed, we do not as yet know.

Debussy's prelude, with its quiet, snowbound character, was radical when it appeared in 1910. "We tend to think of radical obsession as something loud, like Beethoven," Kapilow says.

Debussy’s music has stood the test of time, but what has followed is music that even classical-music lovers cannot love.

Debussy lives in this childlike fairy-tale world and is happy. Man, to him, was the crystal which reflected the whole of God’s world, the entire universe and all the wonder it contained.

Bookshelf ‘Debussy’ Review: An Ear for Beauty With wit and intellectual muscle, Stephen Walsh demonstrates how the emblematic extremes of Debussy’s career are inextricably linked.

Pianist Víkingur Ólafsson Puts Debussy And Rameau In Conversation : Deceptive Cadence On his new album, the rising pianist once called "Iceland's Glenn Gould" offers a dialogue between two ...

On Sunday, French pianist Jean-Yves Thibaudet returned to Orchestra Hall with an invitation to wade in a single great work: Claude Debussy’s Préludes. Considering the Préludes a “work” is ...