Born in Saint-Germain-en-Laye, Yvelines, France, Claude Debussy studied with Guiraud and others at the Paris Conservatoire (1872-84) and as an 1884 Prix de Rome winner, went to Rome, Italy (1885-7), though more important impressions came from his visits to Bayreuth (1888, 1889) and from hearing Javanese music in Paris (1889).
Pelléas, with its rule of understatement and deceptively simple declamation, also brought an entirely new tone to opera - but an unrepeatable one. Debussy worked on other opera projects and left substantial sketches for two pieces after tales by Edgar Allan Poe (Le diable dans le beffroi and La chûte de la maison Usher), but neither was completed. Instead, the main works were orchestral pieces, piano sets, and songs.
The orchestral works include the three Nocturnes (1899), characteristic studies of veiled harmony and texture ('Nuages'), exuberant cross-cutting ('Fêtes') and seductive whole-tone drift ('Sirènes'). La mer (1905) essays a more symphonic form, with a finale that works themes from the first movement, though the centerpiece ('Jeux de vagues') proceeds much less directly and with more variety of color. The three Images (1912) are more loosely linked, and the biggest, 'Ibéria', is itself a triptych, a medley of Spanish allusions. Finally, the ballet Jeux (1913) contains some of Debussy's strangest harmony and texture in a form that moves freely over its own field of motivic connection. Other late stage works, including the ballets Khamma (1912) and La boîte à joujoux (1913) and the mystery play Le martyre de St. Sébastien (1911), were not completely orchestrated by Debussy, though St. Sébastien is remarkable in sustaining an antique modal atmosphere that otherwise was touched only in relatively short piano pieces (e.g.'La cathédrale engloutie').
The important piano music begins with works which, Verlaine fashion, look back at rococo decorousness with a modern cynicism and puzzlement (Suite bergamasque, 1890; Pour le piano, 1901). But then, as in the orchestral pieces, Debussy began to associate his music with visual impressions of the East, Spain, landscapes etc, in a sequence of sets of short pieces. His last volume of Etudes (1915) interprets similar varieties of style and texture purely as pianistic exercises and includes pieces that develop irregular form to an extreme as well as others influenced by the young Stravinsky (a presence too in the suite En blanc et noir for two pianos, 1915). The rarefaction of these works is a feature of the last set of songs, the Trois poèmes de Mallarmé (1913), and of the Sonata for flute, viola and harp (1915), though the sonata and its companions also recapture the inquisitive Verlainian classicism. The planned set of six sonatas was cut short by the composer's death in 1918 from rectal cancer.