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Claude Debussy (1862-1918) Piano Works, Vol. 4 Preludes, Books 1 (1910) and 2 (1911-13)Debussy was born in 1862 in St Germain-en-Laye, the son of a shop-keeper who was later to turn his hand to other activities, with varying success. He started piano lessons at the age of seven and continued two years later, improbably enough, with Verlaine's mother-in-law, allegedly a pupil of Chopin, In 1872 he entered the Paris Conservatoire, where he abandoned the plan of becoming a virtuoso pianist, turning his principal attention to composition. In 1880, at the age of eighteen, he was employed by Tchaikovsky's patroness Nadezhda von Meck as tutor to her children and house-musician. On his return to the Conservatoire he entered the class of Bizet's friend Ernest Guiraud and in 1883 won the second Prix de Rome and in 1884 the first prize, the following year reluctantly taking up obligatory residence, according to the terms of the award, at the Villa Medici in Rome, where he met Liszt. By 1887 he was back in Paris, winning his first significant success in 1900 with Nocturnes for orchestra and going on, two years later, to a succ?¿s de scandale with his opera Pelleas et Melisande, based on the play by Maurice Maeterlinck, a work that established his position as a composer of importance. Debussy's personal life brought some unhappiness in his first marriage in 1899 to a mannequin, Lily Texier, after a liaison of some seven years with Gabrielle Dupont and a brief engagement in 1894 to the singer Ther?¿se Roger. His association from 1903 with Emma Bardac, the wife of a banker and a singer of some ability, led eventually to their marriage in 1908, after the birth of their daughter three years earlier. In 1904 he had abandoned his wife, moving into an apartment with Emma Bardac, and the subsequent attempt at suicide by the former, who had shared with him many of the difficulties of his early career, alienated a number of his friends. His final years were darkened by the war and by cancer, the cause of his death in March 1918, when he left unfinished a planned series of chamber music works, only three of which had been completed. As a composer Debussy must be regarded as one of the most important and influential figures of the early twentieth century. His musical language suggested new paths to be further explored, while his poetic and sensitive use of the orchestra and of keyboard textures opened still more possibilities. His opera Pelleas et Melisande and his songs demonstrated a deep understanding of poetic language, revealed by his music, expressed in terms that never overstated or exaggerated. Debussy's poetic sensibility and his delicate use of keyboard nuances, developed from Chopin, is shown clearly enough in the two books of Preludes, the first completed in 1910 and the second in 1913. These were published with titles given only at the end of each piece, suggesting that t