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Updated: June 27, 2025
Lady Gertrude fairly radiates disapproval whenever I spend an hour or two at the piano. Oh!" her sense of humour rising uppermost for a moment "she asked me to play to them one evening, so I gave them some Debussy out of sheer devilment, I think" smiling a little "and at the end Lady Gertrude said politely: 'Thank you. And now, might we have something with a little more tune in it?"
Germany in the course of two centuries produced at least eight or nine; Russia three within the last fifty years. In France centuries elapse between the appearance of a Josquin des Prés in the fifteenth century, a Rameau in the eighteenth, a Debussy in the early twentieth.
He is, for instance, not as original as Claude Debussy, who has actually said something new. Strauss, a rhetorician with enormous temperamental power, modifies the symphonic form of Liszt, boils down the Wagnerian trilogy into an hour and thirty minutes of seething, white-hot passion, and paints all the moods, human and inhuman, with incomparable virtuosity.
For this reason he was frequently misunderstood, as the irony and sarcasm with which he sometimes spoke did not tend to make friends. But this attitude was only turned toward those who did not comprehend him and his ideals, or who endeavored to falsify what he believed in and esteemed. A friend of the artist writes: "I met Claude Debussy for the first time in 1906.
"Oh, do go on playing. It's years since I heard any Debussy." "It wasn't Debussy." "Oh, wasn't it? Anyway it was just lovely. Do go on. I'll just stand here and listen." Andrews went on playing for a moment, made a mistake, started over, made the same mistake, banged on the keys with his fist and turned round again. "I can't play," he said peevishly.
Hartmann is a genial and original thinker, a littérateur of no mean ability, a bibliophile, the intimate of the late Claude Debussy, and of many of the great men of musical Europe. Yet from the reader's standpoint the interest he inspires is, no doubt, mainly due to the fact that not only is he a great interpreting artist but a great artist doubled by a great teacher, an unusual combination.
With an hour at lunch and a few shattered hours in the evening, how was it possible to catch up with leisured women, who had been reading steadily from childhood? His brain might be full of names, he might have even heard of Monet and Debussy; the trouble was that he could not string them together into a sentence, he could not make them "tell," he could not quite forget about his stolen umbrella.
Whereupon she played, with considerable skill, one of Schumann's simpler compositions, one of Schubert's, and one of Grieg's. Then, turning around on the piano-stool, she asked me, "Do you like Debussy?" I thought of what my neighbor had prophesied concerning "The Maiden's Prayer." Debussy!
No one who can play dance music with that lilt can be as cold as a stone . From this she suddenly turned to Debussy she played a most difficult thing of his I can't remember its name then she stopped. "Do you like Debussy?" I asked. "No, not always." "Then why did you play it?" "I supposed you would."
The very fact that in it Debussy was composing music for the theater made it certain that his artistic sense would produce itself at its mightiest in the work. For it entailed the statement of his opposition to Wagner.
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