Debussy and His Circle 2: The Paris Conservatory Trio +

The Paris Conservatory, where the young Debussy enrolled, was already the oldest music education institution in the world, with a history of over 70 years at the time. Debussy remained there for a long period of 12 years, and while he showed rebellion against rules that did not suit his sensibilities, he thoroughly learned the fundamentals of traditional music. There is no shortage of interesting episodes involving professors from various departments, but here, I would like to touch upon Debussy's companions (friends).

As friends from his Paris Conservatory days, I would first like to mention the following four people:
Paul Vidal (1863-1931), Gabriel Pierné (1863-1937), Raymond Bonheur (1861-1939), and René Chansarel (1864-1937).
Paul Vidal and Gabriel Pierné would often go out with Debussy as a "trio" to places like Parc Monceau to discuss their music assignments.
Vidal had a favorable opinion of Debussy as a classmate from the beginning, despite Debussy's tendency to be shy.
It was also Paul Vidal who encouraged Debussy to apply for the Prix de Rome. Although he was one year younger than Debussy, he became a Prix de Rome winner a year earlier than Debussy and went to Rome to study. At this time, Vidal passed on his piano accompaniment job at Madame Moreau-Sainti's vocal salon to Debussy.
As Vidal had anticipated, Debussy's skills were outstanding, having completed the piano accompaniment course at the Paris Conservatory in a short period with a premier prix (first prize). Debussy became a favorite at this salon and met Madame Vasnier, who would later become a great source of inspiration.
Paul Vidal performed a two-piano piece in front of the old master Liszt together with Debussy, who had arrived in Rome as a Prix de Rome winner a year later.

Gabriel Pierné was also one year younger than Debussy, but he was a friend from Marmontel's piano class. Later, as the permanent conductor of the Colonne Orchestra in Paris, he would perform many of Debussy's works. He also joined the funeral procession at the end of Debussy's life.

Raymond Bonheur was one year older than Debussy. He was close to the composer Ernest Chausson, and there is a surviving photograph of Debussy, who later became acquainted with Chausson, enjoying river activities with them. Bonheur would later have the "Prélude à l'après-midi d'un faune" dedicated to him by Debussy.
Interestingly, both Pierné and Bonheur stated that Debussy possessed aristocratic tastes and preferences in every aspect.

René Chansarel was two years younger than Debussy and the youngest of the five, but he was a friend of Debussy's from Marmontel's piano class and was apparently also a skilled pianist.
When Debussy applied for the Prix de Rome for the third time, Chansarel supported Debussy, who was on the first piano, as the second pianist during the final judging.
The "Fantaisie for Piano and Orchestra," which was intended to be Debussy's fourth work during his studies in Rome, was initially supposed to be premiered with René Chansarel on piano. However, because the conductor Vincent d'Indy decided to perform only the first movement, Debussy withdrew the piece. Debussy's stance of not accepting anything less than a full performance was consistent, and this attitude can also be seen during the premiere of "Pelléas et Mélisande."
Although the "Fantaisie" missed its chance for a premiere, the piece itself is dedicated to René Chansarel.

Finally, there are two more people I would like to mention: Paul Dukas and Jacques Durand. I would like to introduce them briefly, as I will cover them individually later.

Paul Dukas is a composer well known for his orchestral work "The Sorcerer's Apprentice," and he was three years behind Debussy in Guiraud's composition class at the Paris Conservatory. They maintained a constant friendship from their time at the Conservatory until the end of Debussy's life. Debussy felt close to Dukas, who was someone he could talk to about things other than music.

Jacques Durand was also three years behind Debussy at the Paris Conservatory, and he witnessed "L'Enfant prodigue" during the final judging as one of the audience members when Debussy was competing for the Prix de Rome. He was the son of a famous music publisher, and after taking over the management, he became a lifelong patron of Debussy. After Debussy's death, he published a collection of his letters.