Abstract
This essay begins with the hypothesis according to which Claude Debussy chose Paul Verlaine’s poems for their innovative character even though within a traditional framework. In his mélodies the Ariettes oubliées (1903), on texts by Verlaine chosen from Romances sans paroles (1874), Debussy dissociates his work from the typical model of the genre of French art song. However, tonal language is still used as a core basis, with its anchor points in relevant degrees of a chosen tonality, its cadences and its framework which regulate the musical discourse. The renewal of language, as well as innovation within a known frame, are notable points of convergence between Debussy and Verlaine, which will be studied in parallel. The poetic techniques of contrasts and breaks, and of repetition and sound saturation, enrich new approaches to Debussy research.Cette étude part de l’hypothèse selon laquelle Claude Debussy aurait choisi les poèmes de Paul Verlaine pour leur caractère novateur dans le cadre même de la tradition. Dans ses mélodies intitulées les Ariettes oubliées (1903), sur des textes de Paul Verlaine sélectionnés parmi les Romances sans Paroles (1874), Claude Debussy se désolidarise d’un discours habituel du genre de la mélodie. Pourtant le langage tonal reste utilisé dans ses grands fondements, avec ses points d’appui sur les degrés importants d’une tonalité choisie, ses cadences et carrures qui rythment la conduite du discours musical. Le renouvellement du langage ainsi que l’innovation dans un cadre connu seraient des points de convergence notables entre les démarches de Claude Debussy et de Paul Verlaine, que nous étudierons en parallèle. Les procédés poétiques de contrastes et ruptures, de répétition, de saturation sonore, nourrissent la recherche organisationnelle nouvelle de Debussy.
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