Table of Contents

• Preface
• Introduction
• Part I: Two Early Masterpieces
• String Quartet G minor op. 10 (1893)
• Animé et très décidé
• Assez vif et bien rythmé
• Andantino, doucement expressif
• Très modéré - Très mouvementé et avec passion
• Prélude à l’après-midi d’un faune (1894)
• Mallarmé’s Poem
• Debussy’s Response to Mallarmé’s Poem
• Mallarmé’s Response to Debussy’s Music
• Staged Dreams, Before and After Debussy
• Part II: Three Symphonic Triptychs
• Trois nocturnes (1897-99)
• Nuages
• Fêtes
• Sirènes (with women’s choir)
• Internal Coherence in the Three Orchestral “Night Pieces”
• La mer. Trois esquisses symphoniques pour orchestre (1903-05)
• De l’aube à midi sur la mer
• Jeux de vagues
• Dialogue du vent et de la mer
• Complementary Aspects of the Majestic Sea
• Images pour orchestre (1905-12)
• Gigues
• Ibéria
• I. – Par les rues et par les chemins
• II. – Les parfums de la nuit
• III. – Le matin d’un jour de fête
• Rondes de printemps
• A Progression through Geographic and Tonal Spaces

About the Author

Siglind Bruhn, born in Hamburg and with a Ph.D. from the University of Vienna (Austria), is a music analyst, concert pianist, and interdisciplinary researcher. Since 1993 she has been affiliated with the University of Michigan’s Institute for the Humanities, where she is responsible for “Music in interdisciplinary dialogue.” She is the author of more than 25 book-length monographs, most of them in the field of 20th-century music’s relationship to literature, art, and religion. In 2001, she was elected to the European Academy of Arts and Sciences; in 2008 she was awarded an honorary doctorate from Linnaeus University (Sweden).