Editing Claude Debussy (section)

=== Return to Paris, 1887 ===
A week after his return to Paris in 1887, Debussy heard the first act of Wagner's ''[[Tristan und Isolde]]'' at the [[Concerts Lamoureux]], and judged it "decidedly the finest thing I know".<ref name=timeline2/> In 1888 and 1889 he went to the annual festivals of Wagner's operas at [[Bayreuth Festival|Bayreuth]]. He responded positively to Wagner's sensuousness, mastery of form, and striking harmonies,<ref name=grove/> and was briefly influenced by them,<ref>Holloway, pp. 21 and 42</ref> but, unlike some other French composers of his generation, he concluded that there was no future in attempting to adopt and develop Wagner's style.<ref>Nectoux, p. 39; and Donnellon, pp. 46–47</ref> He commented in 1903 that Wagner was "a beautiful sunset that was mistaken for a dawn".<ref>Donnellon, p. 46</ref>

[[File:COLLECTIE TROPENMUSEUM Gamelanorkest TMnr 60043216.jpg|thumb|alt=large group of musicians in Javanese costume, with percussion instruments|left|Gamelan orchestra, {{c.|1889}}]]
In 1889, at the [[Exposition Universelle (1889)|Paris Exposition Universelle]], Debussy first heard [[Java]]nese [[gamelan]] music. The gamelan scales, melodies, rhythms, and ensemble textures appealed to him, and echoes of them are heard in "Pagodes" in his piano suite ''[[Estampes]]''.<ref>Cooke, pp. 258–260</ref> He also attended two concerts of [[Nikolai Rimsky-Korsakov|Rimsky-Korsakov]]'s music, conducted by the composer.<ref name=timeline3/> This too made an impression on him, and its harmonic freedom and non-Teutonic tone colours influenced his own developing musical style.<ref>Jones, p. 18</ref>{{refn|Debussy's regard for Rimsky-Korsakov's music was not reciprocated. After hearing ''Estampes'' a decade later, Rimsky wrote in his diary, "Poor and skimpy to the nth degree; there is no technique; even less imagination. The impudent decadent – he ignores all music that has gone before him, and&nbsp;... thinks he has discovered America."<ref>''Quoted'' in Taruskin, p. 55</ref>|group= n}}

Marie Vasnier ended her liaison with Debussy soon after his final return from Rome, although they remained on good enough terms for him to dedicate to her one more song, "Mandoline", in 1890.<ref>Johnson, p. 95</ref> Later in 1890 Debussy met [[Erik Satie]], who proved a kindred spirit in his experimental approach to composition. Both were [[Bohemianism|bohemians]], enjoying the same café society and struggling to survive financially.<ref>Moore Whiting, p. 172</ref> In the same year Debussy began a relationship with Gabrielle (Gaby) Dupont, a tailor's daughter from [[Lisieux]]; in July 1893 they began living together.<ref name=timeline3>
[http://www.debussy.fr/encd/bio/bio3_88-93.php "The Bohemian period"] {{Webarchive|url=https://web.archive.org/web/20171117105258/http://www.debussy.fr/encd/bio/bio3_88-93.php |date=17 November 2017 }}, Centre de documentation Claude Debussy, Bibliothèque nationale de France, retrieved 16 May 2018
</ref>

Debussy continued to compose songs, piano pieces and other works, some of which were publicly performed, but his music made only a modest impact, although his fellow composers recognised his potential by electing him to the committee of the [[Société Nationale de Musique]] in 1893.<ref name=timeline3/> His [[String Quartet (Debussy)|String Quartet]] was premiered by the [[Ysaÿe Quartet (1886)|Ysaÿe string quartet]] at the Société Nationale in the same year. In May 1893 Debussy attended a theatrical event that was of key importance to his later career – the premiere of [[Maurice Maeterlinck]]'s play ''[[Pelléas et Mélisande]]'', which he immediately determined to turn into an opera.<ref name=timeline3/> He travelled to Maeterlinck's home in [[Ghent]] in November to secure his consent to an operatic adaptation.<ref name=timeline3/>