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Claude Debussy’s Trois Poèmes de Stéphane Mallarmé have, from the start, sparked off protracted controversy, and almost a century after its composition the work still remains widely neglected. That particular issues affected the reception, both positive and negative, of the songs, clearly emerges from the image that was disseminated, not to say forged militantly, by the reviews which appeared at the time of their publication and first performance, as well as by the commentaries written over the following decades. In their own way, these texts are an integral part of the work’s history. Are re-edited here, along with commentaries and a general presentation, a large number of documents revealing how musical criticism and European musicography (up till 1951) welcomed or rejected Debussy’s last Mallarmean opus.

N° 11e

Vincent Vivès
Vincent Vivès - Verlaine et Debussy

Denis Vermaelen
Denis Vermaelen - Une particulière mise en place

Mylène Dubiau
Mylène Dubiau - Ariettes oubliées

J.L. Leleu et P. Dal Molin
J.L. Leleu et P. Dal Molin - " Debussy l'obscur... "

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Les mélodies de Debussy

Jean-Louis Leleu et Paolo Dal Molin

Université de Nice - Sophia Antipolis

Paolo Dal Molin

Università degli studi di Cagliari

« Debussy l’obscur… » : les Trois Poèmes de Stéphane Mallarmé à travers le prisme de la critique et de la littérature musicologique entre 1913 et 1951