Abstract
Abstract Baudelaire's poem Harmonie du soir received two important readings from Debussy — the song which is the second of Cinq poèmes de Ch. Baudelaire, and the fourth Prélude for piano. Both form and content of the poem are reflected in both pieces. This is evident in the song, but hidden in the prelude. The unravelling of these reflections is the focus of this paper, and leads to a possible re-evaluation of the ways in which Debussy's aesthetic was imbricated with that of Wagner.
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