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Citas para exposicin

1. It ocurred to me that Debussy was here visibly "cocking a snook" at the opening bars of
Tristan (Felix White,1927, p. 837)
2. No era meramente juguetes lo que [Debussy] quera ofrecer a Chouchou, sino incentivos para
la alegra! Y as se concibe [...] el paseo del elefante antes de ir a dormir, la serenata que ella
tendra para tocar a su mueca , o al pastorcito interpretando algunas canciones (E. Roberts
Schimitz, 2010, p. 124)
3. El Children Corner de Debussy tiene, pese a todo su encanto, la delicada bonhoma de una
burguesa segura; a este nio le va bien (Th. W. Adorno, 2008, p.256)
4. Though they were not necessarily meant to be played by children due to their technical
virtuosity (Schmitz, Robert, 1966, p.117-120)
5. Doctor Gradus ad Parnassum makes satirical references to Muzio Clementi's instructional
piano set, Gradus ad Parnassum, not only by way of the title but the use of the opening sixteenth
patterns which are indicative of a piano finger study (William Andrew Burnson, 2009, p.1)
6. Il Children's Corner musica per l'infanzia, per Chouchou che compiva tre anni, ma
soprattutto musica sull'infanzia, musica che nasce dalla contemplazione dell'adulto sul
misterioso sorgere di un rapporto tra il bimbo e gli oggetti. (Piero Ratallino, 1976, p.156)
7. Cantidad de obras breves, impresiones, imgenes, pero en cuya fugacidad aparente, se ha
dormido la eternidad (Gilberto Mendona, 200, p.382)
8. Debussy invariably improved his music on more than one level in a single revision, and his
second thoughts usually involved lengthening rather than shortening his original
conception (Robert Orledge, 1981, p. 21)
9. His inspiration for piano pieces often came from specific extra-musical sources (Robert
Orledge, 1981, p. 23)
10. There is no instrument that would reproduce the exquisite and clumsy drollery of the Jumbos
Lullaby as the wooden (Williametta Spencer, 1980, p.112)
11. The pulsatile instrument is again the gainer in the clear, crystalline brilliancy of The snow is
dancing although Mr. Caplet made the rhythmic figure of the violins suggest well the
continuity of the snowfall (Williametta Spencer, 1980, p.115)
12. In the Little Sheperd Mr Caplet has evidenced his skill and sense of color contrasts in the use
of wind instruments [] he has secured some beautiful timbres of tone by combinations of
horns with woodwinds. (Williametta Spencer, 1980, p.118)

13. Debussys spelling of the title of the final piece in Children is often altered to golliwogs
with a single g, presumably by editors who think that no Frenchman can spell English anyway
[]Claude knew what he was doing (Roger Smalley, 1974, p.655)
14. El compositor concilia ciertos aspectos del lenguaje tonal funcional con otros completamente
ajenos a travs de una concepcin armnica ms amplia (Ramn Otero Moreira, 2012, p.276)
15. Howat considera tambin que Debussy no rechazara el uso de la seccin urea como una
frmula prescriptiva o arbitraria, ya que se trata de una proporcin que procede de la
naturaleza, como la serie armnica, y antecede a la humanidad (Ramn Otero Moreira, 2012,
p.156)
16. La dimensin temporal en Debussy presenta una constitucin dual que surge de la
combinacin de dos fuerzas aparentemente contradictorias: la instantaneidad y la
continuidad (Ramn Otero Moreira, 2012, p.134)
17. Pretender que una u otra sucesin de acordes representa este o aquel sentimiento, y que tal o
cual frase es este o aquel personaje, no es ms que un juego antropomtrico (Alfred Knopf,
1977, p. 36.)
18. Una idea musical contiene su propia armona (o al menos, eso me parece); de lo contrario, la
armona no es ms que una cosa parasitaria y desacertada . (Gerard de Romilly, 1978, p. 9.)
19. Jimbos Lullaby e una superficie musical predominantemente regular, para la cual las frases
de cuatro compases son la norma, que sin embargo se vuelve flexible e impredecible con el
libre uso de la extensin, el truncamiento y la elisin" (Richard Parks 1979, p. 211.)
20. Concepcin global y concepcin instantnea del tempo van de la mano cuando se desea
explicitar el pensamiento de Debussy, tan totalmente, tan extraordinariamente nuevo en este
campo (Pierre Boulez, 2001, p. 373-374. )