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Emily Taylor

Debussys String Quartet in G minor, Op, 10, and the influence of Cesar Franck and who it
influenced.

Claude Debussys String Quartet in G minor, Op. 10, was written in 1893, the year after
abandoning the writing of his opera Rodrigue et Chimene. The quartet (the only one of two intended
quartets that actually materialised), received its first performance at the Socit Nationale in Paris
on the 29
th
December 1893 and follows the traditional four movement structure of string quartets.
The four movements in Debussys quartet are as follows:
1. Anim et trs dcid
2. Assez vif et bien rythm
3. Andantino, doucement expressif
4. Trs modr - En animant peu peu - Trs mouvement et avec passion

It was performed by the Ysaye Quartet Lockspeiser, E (1978) 97-99. Although actually
dedicated to Amde-Ernest Chausson, whom Debussy shared a close friendship with at the time, he
did not approve of the piece, or at least aspects of it. This extract of a letter written from Debussy to
Chausson on 5
th
February expresses Debussys upset in response to his critic:
I should also say that I was really upset for several days by what you said about
my quartet, as I felt after all it only increased your partiality for certain things
which I would rather it had encouraged you to forget. Anyway I will write another
on which will be for you, in all seriousness for you, and Ill try and bring some
nobility to my forms. Id like to have enough influence for you to be able to
grumble at you and tell you youre heading in the wrong direction!... You dont let
yourself go enough and in particular you dont seem to allow enough play to that
mysterious force which guides us towards the true expression of a feeling,
whereas dedicated, single-minded searching only weakens it One has to tell
oneself that when it comes to art, we are nothing, merely the instrument of some
destiny, and we have to allow it to fulfil itself!
The second quartet mentioned in this letter is the one that did not materialise. This letter also
indicates a possible end to the friendship that brought Debussy great financial reward Nichols, R
(1998) 77.
In 1892, Debussy met Ernest Chausson, who introduced him to the Faubourg Saint-Germain,
the upper class district of Paris, where he would soon conduct an amateur choir. Here, he became
acquainted with Chaussons own teacher, Cesar Franck. Much of Debussys String Quartet in G minor
Op. 10 is based around Francks own theories of cyclical writing for string quartets and thematic
connections between the typical four movements included in string quartets Lockspeiser, E (1978).
Debussy was quite often influenced by Franck in his early career in chamber music, however, most
notably in his String Quartet. This was realised by James Briscoe, who said: the young Debussy
frequently turned to Franck for models of structure in instrumental music Briscoe, J (1991). A table
has been compiled, charting selected works from both Franck and Debussy against each other,
according to similarities and influences (Fig.1).
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Emily Taylor







Fig.1 Wheeldon, M (2005)
In this table, Francks String Quartet in D major and Debussys String Quartet in G minor Op.
10 are only one of the sets of the pairs pieces found to have similarities where Debussy was
influenced by his superior.
Only three years after attending the extremely successful premiere of Francks String
Quartet, Debussy premiered his own quartet. Debussy may have allowed himself to be so easily
influenced by Francks writing through a strong desire to gain such a reputable premiere for one of
his own pieces.
Both pieces follow a four movement cyclic pattern, where the movements are to be
performed at similar tempos. Both composers followed their first movements with Scherzos, slower
movements and then a finale. Even more intriguing is the fact that, despite there being a vast array
of possible cyclic designs, Debussys cyclic structure is very similar in design to that of Francks.
Figures 2a and 2b show the similarities between the cyclic designs of the two quartets.


Fig. 2a. Cyclic design in Francks Quartet Wheeldon, M (2005)
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Emily Taylor


Fig. 2b. Cyclic design in Debussys Quartet Wheeldon, M (2005)
As seen in both diagrams, the first cyclic theme is heard in the first movement which is then
heard again in the second movement. Both composers make no return to this theme in the slower
third movements of the works. Finally, both Debussy and Franck make a return to themes and ideas
from all three previous movements, using them as introductory tools for the final sections of the
music. In Debussys Final movement (Trs modr - En animant peu peu - Trs mouvement et
avec passion), there are three sections, two of which are part of the introduction, whilst the final
section is the definitive finale. The first section, bars 1-14, is an extension (of sorts) of the third
movement of the piece, maintaining the muted timbre of the solo melodies through this section of
the final movement. Alongside this, the key signature remains Db Major into this section of
movement four.
In the second section of this movement, through bars 15-30, the Scherzo movement is
recalled upon in terms of texture and tempo, whilst chromatic descending thirds are a similarity to
the cyclic, thematic ostinato rhythm of that movement.
Finally, the final section of this movement (bar 31 onwards), recalls back to the first
movement and themes and timbres from the entirety of the work Wheeldon, M (2005).
As well as being influenced by other composers and styles, Debussys solitary String Quartet
its self influenced other composers writing for string quartets. The composers influenced by the
writing of Debussys string quartet included Ravel. Joseph-Maurice Ravel, along with Debussy
himself was considered a very reputable and influential composer of the time. Due to both Debussy
and Ravel receiving their education at the Paris Conservatory, they both gained similar musical
experiences and teachings, as well as both sharing common influences Sutarjo, J (2011).
Whilst it may be the case that Debussy was a great influence to Ravel, as well as the other
way round too, it is possible that the influence was more rivalry. It could be suggested that rather
than using each others compositions in admiration to create their own work in dedication and
friendship to the other, the two composers may have seen each other as rivals, and used the others
works in spite and competition, each trying to better the other. Additionally, this suggestion could
be linked back to the working relationship and friendship between Franck and Debussy. It is possible
that the reason Debussy intended to dedicate his String Quartet to Chausson and not Franck is
because he was only trying to better his predecessor, not proclaim his admiration.
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Emily Taylor

Ravels String Quartet in F Major and Debussys String Quartet in G minor both share
common musical elements, writing features and forms. Again, along with Franck and Debussys
Quartet, Ravels Quartet is in a four movement structure Sutarjo, J (2011).
Debussys work has almost acted as a stencil for Ravel, who borrowed the form and features
of the work to use in his own. As Mark DeVoto stated, this could almost be seen as plagiarism
DeVoto, M (2004).
It should be noted, however, that each of the works are a work in their own right, by their
own composer and were premiered ten years apart.
Both Ravel and Debussy used a cyclic structure in their quartets, whilst similar, the
structures are not the same, with Debussys bearing a large amount of resemblance to that of
Franck, and Ravels being noticeably different. Another similarity between the works of Ravel and
Debussy is the use of pizzicato, widely in the second movements Sutarjo, J (2011).
Conclusively, throughout my research, I have found that not only was Debussy influenced by
his predecessors of the string quartet, he was also an influence to the composers that followed him
with their own string quartets. I have also gained the knowledge that rather than the influences
being a result of admiration or friendships, there is a possibility that they signify competition, rivalry
and jealousy between Debussy and his fellow composers.

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Emily Taylor

List of References:
Lockspeiser, E (1978). Debussy: His Life and Mind. Cambridge: CUP Archive. 97-99.
Nichols, R (1998). The Life of Debussy. Cambridge: Cambridge University Press.
Briscoe, J (1991). Debussy, Franck, and the 'Idea of Sacrifice'. Belgium: Societe Belge de Musicologie.
28.
Wheeldon, M. (2005). Debussy and La Sonate Cyclique. The Journal of Musicology. 22 (4), 644-679
Jane Ade Sutarjo. (2011). Debussy and Ravel's String Quartet: An Analysis, 4-24
Mark Devoto, Debussy and the Veil of Tonality: Essays on his music, Dimension & Diversity, No. 4
(New York: Pendragon Press, 2004)