Thursday November 15, 2018 time 21.00

FAENZA Ridotto of the Masini Theatre – Cento Pacifici Hall

DEBUSSY Preraffaellita, Impressionista, Simbolista, Astrattista

ILIA KIM piano

listening introduction by PIERO RATTALINO

Claude Debussy

Deux Arabesques (1888-1891)

Clair de lune (1890)

Tarantelle styrienne (1890)

La soirée dans Grenade (1903)

L’isle joyeuse (1904)

Des pas sur la neige (1908)

Ondine (1910)

La Cathédrale engloutie (1908)

Ce qu’a vu le vent d’ouest (1908)

Étude pour les degrés chromatiques (1915)

Étude pour les octaves (1915)

The centenary of Debussy’s death happens when his figure is at the centre of critics and when they recognize him as one of the artists who represent the turning point between two great epochs in the history of music, nineteenth-century romanticism and twentieth-century modernity . At the time of his first affirmation, Debussy was seen as an impressionist, as the equivalent in music of pictorial expressionism. It was an almost unavoidable location but that, considering his relations with Mallarmé and Maeterlinck, they began to consider him as a symbolist. And his belonging to symbolism is certainly the one that best defines, in a general sense, Debussy’s art. But Debussy had composed his first masterpiece, La Damoiselle élue, based on the text of Dante Gabriele Rossetti, an exponent of the major pre-Raphaelites, and his latest creations were contemporary, in time and spirit, of the birth of abstractionism at work of Mondrian. In his piano production we find the signs of his evolution and through it we can therefore briefly go over the different moments of his poetics, not only as an artist but, one might say, as a “ferryman” of music, in parallel with the passage of all the arts from the nineteenth to the twentieth century.

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