thumb|Claude Debussy
This is a list of compositions by Claude Debussy categorized by genre, and sorted within each genre by "L²" number, according to the 2001 revised catalogue by musicologist François Lesure, which is generally in chronological order of composition date.
(For convenience, the "L¹" numbers from Lesure's original 1977 catalogue are also shown below. They were widely used on recordings, and so on, for twenty years.)
(The "L¹" and "L²" headers can be clicked on to sort the entire list by either numbering. A second click will reverse the order. Reloading the webpage will restore the genre-category order.)
List of compositions
{|class="wikitable sortable" style="text-align: left"
!width="6%" data-sort-type="text"|L²
!width="6%" data-sort-type="text"|L¹
!width="49%" class=unsortable|Title
!width="11%" class=unsortable|Scoring
!width="11%" data-sort-type="number"|Date
!width="17%" class=unsortable|Notes
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Orchestral
|-style="vertical-align: top"
|data-sort-value="033b"|33b
|data-sort-value="038b"|38
|Le Triomphe de Bacchus, suite
|orchestra
|1882
|lost, but re-orchestrated 1927 by Marius-François Gaillard from the 3 surviving movements (1, 2, and 4) of the piano duet version L 33a
|-style="vertical-align: top"
|data-sort-value="046b"|46b
|data-sort-value="050b"|50b
|Première Suite d'Orchestre
|orchestra
|1883
|orchestration of L 46a;
3rd mvt lost
|-style="vertical-align: top"
|data-sort-value="063b"|63b
|data-sort-value="060b"|60b
|Ariettes oubliées, suite
|orchestra
|1912
|orchestration of L 63a No.1 & 5 by André Caplet under Debussy's supervision
|-style="vertical-align: top"
|data-sort-value="068b"|68b
|data-sort-value="061b"|61b
|Printemps, Suite Symphonique
|orchestra (with piano four-hands, harp)
|1912
|orchestral version of L 68a by Henri Büsser under Debussy's supervision
|-style="vertical-align: top"
|data-sort-value="071b"|71b
|data-sort-value="065b"|65b
|Petite Suite
|orchestra
|1907
|orchestral version of L 71a by Henri Büsser under Debussy's supervision
|-style="vertical-align: top"
|data-sort-value="083b"|83b
|data-sort-value="077"|77
|Marche écossaise sur un thème populaire
|orchestra
|1893–1908
|orchestration of L 83a
|-style="vertical-align: top"
|data-sort-value="087a"|87a
|data-sort-value="086a"|86a
|Prélude à l'après-midi d'un faune
|orchestra
|1891–94
|
|-style="vertical-align: top"
|data-sort-value="092a"|92
|data-sort-value="083a"|83
|3 Scènes au crépuscule
|orchestra
|1892–93
|1st version of L 98;
lost
|-style="vertical-align: top"
|data-sort-value="096b"|–
|data-sort-value="089b"|–
|Orchestration of Erik Satie's Gymnopédies:
|orchestra
|1897
|Satie's 1st and 3rd Gymnopédies only, in reverse order: "Lent et grave" and "Lent et douloureux" are Satie's 3rd and 1st respectively.
|-style="vertical-align: top"
|data-sort-value="098"|98
|data-sort-value="091"|91
|Nocturnes
|orchestra (III. with female chorus)
|1897–99
|3rd version of L 92 & 3 Nocturnes for violin and orchestra
|-style="vertical-align: top"
|111
|109
|La Mer, Trois esquisses symphoniques
|orchestra
|1903–05
|revised 1908
|-style="vertical-align: top"
|data-sort-value="118a"|118
|122
|Images, Set 3
|orchestra
|1905–12
|I. composed 1909–12;
II. composed 1905–08;
III. composed 1905–09?
|-style="vertical-align: top"
|data-sort-value="119b"|–
|data-sort-value="113b"|–
|Children's Corner
|orchestra
|1910
|orchestration of L 119 by André Caplet under Debussy's supervision
|-style="vertical-align: top"
|data-sort-value="128b"|–
|121b
|La plus que lente
|orchestra
|1910
|arrangement of L 128
|-style="vertical-align: top"
|data-sort-value="130c"|–
|data-sort-value="124c"|–
|Le Martyre de Saint Sébastien, Fragments symphoniques
|orchestra
|1911
|arrangement of selections from L 130 by André Caplet, under Debussy's supervision
|-style="vertical-align: top"
|140b
|132b
|Berceuse héroïque
|orchestra
|1914
|arrangement of L 140a
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Concertante
|-style="vertical-align: top"
|data-sort-value="040a"|40a
|data-sort-value="027a"|27a
|Intermezzo
|cello, orchestra
|1882
|
|-style="vertical-align: top"
|data-sort-value="072"|72
|data-sort-value="073"|73
|Fantaisie
|piano, orchestra
|1889–90
|
|-style="vertical-align: top"
|data-sort-value="092b"|–
|data-sort-value="083b"|–
|3 Nocturnes
|violin, orchestra
|1894–96
|2nd version of L 98;
lost
|-style="vertical-align: top"
|data-sort-value="104b"|–
|data-sort-value="098b"|98b
|Rhapsodie
|alto saxophone, orchestra
|1919
|orchestration of L 104 by Jean Roger-Ducasse
|-style="vertical-align: top"
|data-sort-value="113a"|113
|103a
|Danses
|cross-strung harp, string orchestra
|1904
|alternate versions: the published score indicates that the harp part can also be played on regular (pedal) harp or piano
|-style="vertical-align: top"
|124b
|116b
|Première Rhapsodie
|clarinet, orchestra
|1911
|orchestration of L 124a
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Chamber
|-style="vertical-align: top"
|data-sort-value="005a"|5
|data-sort-value="003a"|3
|Piano Trio in G major
|piano, violin, cello
|1880
|discovered 1982, published 1986
|-style="vertical-align: top"
|data-sort-value="039a"|–<!--place 36a-->
|data-sort-value="026a"|–<!--place 22a-->
|Nocturne et Scherzo
|violin, piano
|1882
|lost
|-style="vertical-align: top"
|data-sort-value="039b"|39
|data-sort-value="026b"|26
|Nocturne et Scherzo
|cello, piano
|1882
|arrangement of violin & piano version; only Scherzo survives
|-style="vertical-align: top"
|data-sort-value="040b"|40b
|data-sort-value="027b"|27b
|Intermezzo
|cello, piano
|1882
|arrangement of L 40a
|-style="vertical-align: top"
|data-sort-value="091"|91
|data-sort-value="085"|85
|String Quartet in G minor
|2 violins, viola, cello
|1892–93
|published as Opus 10
|-style="vertical-align: top"
|data-sort-value="104a"|104
|data-sort-value="098a"|98a
|Rhapsodie
|alto saxophone, piano
|1901–11
|
|-style="vertical-align: top"
|124a
|116a
|Première Rhapsodie
|clarinet, piano
|1909–10
|
|-style="vertical-align: top"
|127
|120
|Petite pièce
|clarinet, piano
|1910
|piece for the 1910 sightreading examinations of the clarinet classes at the Conservatoire de Paris
|-style="vertical-align: top"
|data-sort-value="137b"|137
|data-sort-value="129b"|129
|Syrinx
|flute
|1913
|incidental music for the play Psyché by Gabriel Mourey
|-style="vertical-align: top"
|144
|135
|Sonata No. 1
|cello, piano
|1915
|
|-style="vertical-align: top"
|145
|137
|Sonata No. 2
|flute, viola, harp
|1915
|
|-style="vertical-align: top"
|148
|140
|Sonata No. 3
|violin, piano
|1916–17
|
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Piano solo
|-style="vertical-align: top"
|data-sort-value="004"|4
|data-sort-value="009"|9
|Danse bohémienne
|piano
|1880
|
|-style="vertical-align: top"
|data-sort-value="005b"|–<!--place 39a-->
|data-sort-value="003b"|–<!--place 26a-->
|Intermède
|piano
|1882
|transcription of 2nd mvt of Piano Trio L 5
|-style="vertical-align: top"
|data-sort-value="074"|74
|data-sort-value="066"|66
|Deux arabesques
|piano
|1890–91
|1. composed 1890;
2. composed 1891
|-style="vertical-align: top"
|data-sort-value="075"|75
|data-sort-value="067"|67
|Mazurka
|piano
|1890–91
|
|-style="vertical-align: top"
|data-sort-value="076"|76
|data-sort-value="068"|68
|Rêverie
|piano
|1890
|
|-style="vertical-align: top"
|data-sort-value="077"|77
|data-sort-value="069"|69
|Tarantelle styrienne
|piano
|1890
|revised c.1901 as Danse
|-style="vertical-align: top"
|data-sort-value="078"|78
|data-sort-value="070"|70
|Ballade slave
|piano
|1890
|revised c.1901 as Ballade
|-style="vertical-align: top"
|data-sort-value="079"|79
|data-sort-value="071"|71
|Valse romantique
|piano
|1890
|revised c.1901
|-style="vertical-align: top"
|data-sort-value="082"|82
|data-sort-value="075"|75
|Suite bergamasque
|piano
|1890–91
|revised 1905;
III. original 1890 title Promenade sentimentale;
IV. original 1890 title Pavane;
|-style="vertical-align: top"
|data-sort-value="089"|89
|data-sort-value="082"|82
|Nocturne
|piano
|1892
|
|-style="vertical-align: top"
|data-sort-value="093b"|–
|data-sort-value="088b"|–
|Pelléas et Mélisande, opera in 5 acts
|voices, piano
|1893–1902
|piano reduction of orchestra part
|-style="vertical-align: top"
|data-sort-value="094"|94
|data-sort-value="087"|87
|Images
|piano
|1894
|published as Images oubliées;
II. 1st version of Sarabande from Pour le piano L 95
|-style="vertical-align: top"
|data-sort-value="095"|95
|data-sort-value="095"|95
|Pour le piano, suite
|piano
|1894–1901
|II. 2nd revised version of Souvenir du Louvre from Images oubliées L 94
|-style="vertical-align: top"
|105
|110
|Images, Set 1
|piano
|1901–05
|
|-style="vertical-align: top"
|108
|100
|Estampes
|piano
|1903
|
|-style="vertical-align: top"
|109
|106
|L'isle joyeuse
|piano
|1903–04
|
|-style="vertical-align: top"
|110
|105
|Masques
|piano
|1903–04
|
|-style="vertical-align: top"
|112
|data-sort-value="099"|99
|D'un cahier d'esquisses
|piano
|1904
|
|-style="vertical-align: top"
|117
|108
|Pièce pour piano (Morceau de concours)
|piano
|1904
|written for a "guess the composer" contest in Musica magazine
|-style="vertical-align: top"
|–
|–
|Les accords de septième regrettent !!!
|piano
|1905
|nine-measure fragment written as a birthday present for Debussy's fiancée Emma Bardac
|-style="vertical-align: top"
|data-sort-value="119a"|119
|data-sort-value="113a"|113
|Children's Corner
|piano
|1906–08
|Debussy gave the title of the work and the movement titles in English on his manuscript
|-style="vertical-align: top"
|120
|111
|Images, Set 2
|piano
|1907
|
|-style="vertical-align: top"
|122
|114
|Le petit Nègre
|piano
|1909
|also published as "Cake-Walk"
|-style="vertical-align: top"
|123
|115
|Hommage à Haydn
|piano
|1909
|first movement of the collective Hommage à Joseph Haydn collaboration by six composers
|-style="vertical-align: top"
|125
|117
|Préludes, Book 1
|piano
|1909–10
|
|-style="vertical-align: top"
|data-sort-value="128a"|128
|121a
|La plus que lente
|piano
|1910
|
|-style="vertical-align: top"
|131
|123
|Préludes, Book 2
|piano
|1912–13
|
|-style="vertical-align: top"
|data-sort-value="139b"|–
|131b
|Six Épigraphes antiques
|piano
|1915
|arrangement of L 139
|-style="vertical-align: top"
|140a
|132a
|Berceuse héroïque
|piano
|1914
|
|-style="vertical-align: top"
|141
|133
|Pièce pour l'œuvre du Vêtement du blessé (Page d'album)
|piano
|1915
|composed to aid fundraising efforts for wounded soldiers in World War I
|-style="vertical-align: top"
| data-sort-value="143a"|143
| data-sort-value="136a"|136
|Douze Études
|piano
|1915
|
|-style="vertical-align: top"
|data-sort-value="143b"|143a
|data-sort-value="136b"|–
|Étude pour les arpèges composés
|piano
|1915
|an alternate piece for No. 11 of Douze Études L 143, it has no musical relation to that piece, though Debussy composed the two simultaneously;
discovered 1977, published as Étude retrouvée
|-style="vertical-align: top"
|146
|138
|Élégie
|piano
|1915
|
|-style="vertical-align: top"
|150
|data-sort-value="141a"|–
|Les Soirs illuminés par l'ardeur du charbon
|piano
|1917
|discovered November 2001, published 2003
title from Charles Baudelaire's poem Le Balcon
|-style="vertical-align: top"
|data-sort-value="073a"|–
|data-sort-value="065a"|–
|Rapsodie in the Style of Liszt
|piano
|
|lost
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Piano duo
|-style="vertical-align: top"
|data-sort-value="008"|8
|data-sort-value="010"|10
|Symphony in B minor
|piano four-hands
|1880–81
|published 1933, premièred 1989
Orchestrated by Tony Finno
|-style="vertical-align: top"
|data-sort-value="010"|10
|data-sort-value="000"|–
|Andante cantabile and Tempo di Marcia Funebra
|piano four-hands
|1881
|2nd movement incomplete, 16 bars only
|-style="vertical-align: top"
|data-sort-value="020"|20
|data-sort-value="000"|–
|Diane, Overture
|piano four-hands
|1881
|this overture and the vocal duet L 48 are all that survive of the unfinished opera Diane;
premiered 1989, published 2002
|-style="vertical-align: top"
|data-sort-value="033a"|33a
|data-sort-value="038a"|38
|Le Triomphe de Bacchus
|piano four-hands
|1882
|arrangement of lost orchestral suite;
III. lost;
IV. lost except for 2 fragments
|-style="vertical-align: top"
|data-sort-value="040c"|40c
|data-sort-value="027c"|27c
|Intermezzo
|piano four-hands
|1882
|arrangement of L 40a
|-style="vertical-align: top"
|data-sort-value="046a"|46a
|data-sort-value="050a"|50a
|Première Suite d'Orchestre
|piano, four-hands
|1883
|reduction of L 46b
|-style="vertical-align: top"
|data-sort-value="061a"|–
|data-sort-value="000"|–
|L'enfant prodigue
|piano four-hands
|
|transcription of the instrumental mvts of L 61 (No.1 & 4)
|-style="vertical-align: top"
|data-sort-value="062"|62
|data-sort-value="036"|36
|Divertissement
|piano four-hands
|1884
|
|-style="vertical-align: top"
|data-sort-value="071a"|71a
|data-sort-value="065a"|65a
|Petite Suite
|piano four-hands
|1888–89
|
|-style="vertical-align: top"
|data-sort-value="083a"|83a
|data-sort-value="077"|77
|Marche écossaise sur un thème populaire
|piano four-hands
|1890
|
|-style="vertical-align: top"
|data-sort-value="087b"|87b
|data-sort-value="086b"|86b
|Prélude à l'après-midi d'un faune
|2 pianos
|1895
|
|-style="vertical-align: top"
|103
|data-sort-value="097"|97
|Lindaraja
|2 pianos
|1901
|
|-style="vertical-align: top"
|data-sort-value="113b"|–
|103b
|Danses
|2 pianos
|1904
|arrangement of L 113a
|-style="vertical-align: top"
|data-sort-value="139a"|139
|131a
|Six Épigraphes antiques
|piano four-hands
|1914–15
|arrangement of 6 pieces from Chansons de Bilitis L 102
|-style="vertical-align: top"
|142
|134
|En blanc et noir
|2 pianos
|1915
|original title Caprices en blanc et noir
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Stage
|-style="vertical-align: top"
|data-sort-value="013a"|–
|data-sort-value="020a"|–
|Hélène, opera, after the poème antique by Leconte de Lisle
|opera
|1881
|unfinished, one fragment only: Helène: Franchis les mers icariennes (solo with chorus) L 14
|-style="vertical-align: top"
|data-sort-value="019a"|–
|data-sort-value="000"|–
|Diane au bois, opera, after the play by Théodore de Banville
|opera
|1881–86
|unfinished;
lost, only two pieces survive: the Overture in a piano four-hands reduction L 20, and fragments of a vocal duet with accompaniment in piano reduction L 48
|-style="vertical-align: top"
|data-sort-value="033c"|–
|data-sort-value="037"|37
|Hymnis, opera, after the play by Théodore de Banville
|voice, chorus, orchestra
|1882
|unfinished;
lost, only two pieces survive with accompaniment in piano reductions: Il dort encore (aria from Scene 1) L 34, and Ode Bachique (vocal duet) L 41
|-style="vertical-align: top"
|data-sort-value="067a"|–
|data-sort-value="000"|–
|Salammbô, opera, after the novel by Gustave Flaubert
|opera
|1885
|sketches only
|-style="vertical-align: top"
|data-sort-value="080"|80
|data-sort-value="072"|72
|Rodrigue et Chimène, opera in 3 acts
|opera
|1890–93
|libretto: Catulle Mendès;
2 scenes lost;
complete except for sketches for the orchestration;
"reconstituted" from the mss in 1987 by Richard Langham Smith, orchestrated 1993 by Edison Denisov
|-style="vertical-align: top"
|data-sort-value="093a"|93
|data-sort-value="088a"|88
|Pelléas et Mélisande, opera in 5 acts
|opera
|1893–1902
|libretto: Maurice Maeterlinck
|-style="vertical-align: top"
|100
|data-sort-value="093"|93
|La tragédie de la mort, incidental music for the play by René Peter
|voices, orchestra
|1899
|text: René Peter;
unfinished, one piece only: Berceuse: Il était une fois une fée qui avait un beau sceptre (solo), scored for solo voice without accompaniment
|-style="vertical-align: top"
|102
|data-sort-value="096"|96
|Musique de scène pour Les Chansons de Bilitis, incidental music
|narrator, 2 flutes, 2 harps, celesta
|1900–01
|text: Pierre Louÿs;
three of the pieces are arrangements of L 97
|-style="vertical-align: top"
|106
|101
|Le Diable dans le beffroi, short opera based on Poe's "The Devil in the Belfry"
|opera
|1902–11
|libretto: Debussy;
unfinished
|-style="vertical-align: top"
|116
|107
|Le Roi Lear, incidental music to the Shakespeare play "King Lear"
|orchestra
|1904
|unfinished, 7 sections sketched;
2 sections (Fanfare d'ouverture, Le Sommeil de Lear) completed and orchestrated by Jean Roger-Ducasse 1926
|-style="vertical-align: top"
|121
|112
|La Chute de la maison Usher, short opera based on Poe's "The Fall of the House of Usher"
|opera
|1908–17
|text: Debussy;
unfinished;
completed, revised, and orchestrated by Juan Allende-Blin 1979; also completed (new version) by Robert Orledge 2013
|-style="vertical-align: top"
|data-sort-value="130a"|130
|data-sort-value="124a"|124
|Le Martyre de Saint Sébastien, Mystère en 5 acts et 5 maisons, incidental music to the play by Gabriele D'Annunzio in 5 acts
|soprano, 2 contraltos, various chorus, orchestra
|1911
|libretto: Gabriele D'Annunzio;
orchestrated by André Caplet in collaboration with Debussy
|-style="vertical-align: top"
|data-sort-value="130b"|–
|data-sort-value="124b"|–
|Le Martyre de Saint Sébastien
|soprano, 2 contraltos, various chorus, piano
|1911
|piano reduction of orchestra part of L 130 by André Caplet and Debussy
|-style="vertical-align: top"
|132b
|125a
|Khamma, légende dansée, ballet
|piano
|1911–12
|original title Isis;
original version scored for piano
|-style="vertical-align: top"
|132a
|125b
|Khamma, légende dansée, ballet
|orchestra
|1912
|orchestration of L 132b unfinished, completed by Charles Koechlin 1913
|-style="vertical-align: top"
|133
|126
|Jeux, poème dansé, ballet
|orchestra
|1912–13
|
|-style="vertical-align: top"
|134
|104a
|Fêtes galantes, Ballade en 3 tableux, opera-ballet after poems by Paul Verlaine
|opera
|1912–15
|original title Crimen amoris;
libretto: Louis Laloy and Charles Morice;
unfinished, possibly never written;
lost
|-style="vertical-align: top"
|136a
|data-sort-value="128a"|128
|La Boîte à joujoux, Ballet pour enfants
|piano
|1913
|original version scored for piano
|-style="vertical-align: top"
|136b
|data-sort-value="128b"|–
|La Boîte à joujoux, Ballet pour enfants
|orchestra
|1919
|orchestration of L 136a by André Caplet per Debussy's instructions
|-style="vertical-align: top"
|data-sort-value="137a"|–
|data-sort-value="129a"|–
|Psyché, incidental music for the play by Gabriel Mourey
|orchestra
|1913
|lost, except for Flûte de Pan retitled Syrinx L 137, the rest possibly never written
|-style="vertical-align: top"
|138
|130
|No-Ja-Li ou Le palais du silence, Chinese ballet
|orchestra
|1914
|unfinished, reconstructed by Robert Orledge 2005, revised 2012 and 2014, premiered 2015
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Choral
|-style="vertical-align: top"
|data-sort-value="014"|14
|data-sort-value="020a"|20a
|Helène: Franchis les mers icariennes
|soprano, mixed chorus, orchestra
|1881
|text: Leconte de Lisle;
fragments;
from the unfinished opera Hélène
|-style="vertical-align: top"
|data-sort-value="025a"|Anh
|data-sort-value="000"|–
|Fugue pour le concours de fugue
|4-part chorus
|1881
|
|-style="vertical-align: top"
|data-sort-value="045c"|–
|data-sort-value="000"|–
|Choeur des brises: Réveillez-vous, arbres des bois
|soprano, female chorus, piano four-hands
|1882
|sketch
|-style="vertical-align: top"
|data-sort-value="032"|32
|data-sort-value="035"|35
|Choeur des brises: Réveillez-vous, arbres des bois
|soprano, 3-part female chorus
|1882
|text: Louis Bouilhet
|-style="vertical-align: top"
|data-sort-value="037a"|37a
|data-sort-value="024a"|24a
|Printemps: Salut printemps, jeune saison, cantata
|female chorus, orchestra
|1882
|text: Anatole de Ségur
|-style="vertical-align: top"
|data-sort-value="037b"|37b
|data-sort-value="000"|–
|Printemps: Salut printemps, jeune saison
|female chorus, piano four-hands
|1882
|arrangement of L 37a, not by Debussy?
|-style="vertical-align: top"
|data-sort-value="045a"|Anh
|data-sort-value="000"|–
|Fugue pour le concours de fugue
|4-part chorus
|1882
|
|-style="vertical-align: top"
|data-sort-value="045b"|Anh
|data-sort-value="000"|–
|Fugue pour le concours d'essai
|4-part chorus
|1882
|Prix de Rome Competition
|-style="vertical-align: top"
|data-sort-value="051"|51
|data-sort-value="040"|40
|Invocation: Élevez-vous, voix de mon âme
|male chorus, orchestra
|1883
|text: Alphonse de Lamartine
|-style="vertical-align: top"
|data-sort-value="055a"|Anh
|data-sort-value="000"|–
|Fugue pour le concours de fugue
|4-part chorus
|1883
|
|-style="vertical-align: top"
|data-sort-value="055b"|Anh
|data-sort-value="000"|–
|Fugue pour le concours d'essai
|4-part chorus
|1883
| Prix de Rome Competition;
incomplete, 31 bars only
|-style="vertical-align: top"
|data-sort-value="060"|60
|data-sort-value="056"|56
|Le printemps: L'aimable printemps ramène dans la plaine, cantata
|soprano, tenor, baritone, 4-part chorus, orchestra
|1884
|text: Jules Barbier
|-style="vertical-align: top"
|data-sort-value="064"|64
|data-sort-value="059"|59
|Zuléima, Ode symphonique, cantata
|chorus, orchestra
|1885
|text: Georges Boyer;
lost;
Zuléima was the 1st mvt of Ode symphonique, a projected 3-mvt cantata, but the other 2 mvts were never written
|-style="vertical-align: top"
|data-sort-value="068a"|68a
|data-sort-value="061a"|61a
|Le Printemps
|mixed chorus, piano four-hands
|1887
|text: none;
arrangement of L 68c
|-style="vertical-align: top"
|data-sort-value="068c"|68c
|data-sort-value="000"|–
|Le Printemps, "Scenes for Chorus and Orchestra"
|female chorus, orchestra
|1887
|text: none;
manuscript lost, this orchestral version possibly never written or only sketched, but since reconstructed from other versions
|-style="vertical-align: top"
|data-sort-value="069a"|69a
|data-sort-value="062a"|62a
|La Damoiselle élue: La damoiselle élue s'appuyait sur la barrière d'or du ciel, oratorio
|solo female voice (S), 2-part children's chorus (SS), 2-part female chorus (CC) (with contralto solo), orchestra
|1887–88
|text: Dante Gabriel Rossetti;
revised 1902
|-style="vertical-align: top"
|data-sort-value="069b"|69b
|data-sort-value="062b"|62b
|La Damoiselle élue: La damoiselle élue s'appuyait sur la barrière d'or du ciel, cantata
|soprano, 4-part female chorus (SSCC) (with contralto solo), piano
|1906
|arrangement of L 69a
|-style="vertical-align: top"
|data-sort-value="119a"|–
|data-sort-value="110a"|–
|Prélude à 'L'histoire de Tristan
|chorus, orchestra
|1907
|unfinished, reconstructed by Robert Orledge 2011, premiered 2015
|-style="vertical-align: top"
|data-sort-value="099"|99
|data-sort-value="092"|92
|Chansons de Charles d'Orléans
|4-part mixed chorus
|1898
|text: Charles duc d'Orléans;
revised 1908
|-style="vertical-align: top"
|149
|141
|Ode à la France: Les troupeaux vont par les champs désertés, cantata
|soprano, mixed chorus, orchestra
|1916–17
|text: Louis Laloy;
unfinished draft, completed and arranged by Marius-François Gaillard in 1928 (piano acc. version) & 1958 (orchestrated version)
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Solo voice with orchestra
|-style="vertical-align: top"
|data-sort-value="096"|96
|data-sort-value="089"|89
|La Saulaie
|baritone, orchestra
|1896–1900
|text: Dante Gabriel Rossetti
|-style="vertical-align: top"
|data-sort-value="126b"|–
|119b
|Ballades de François Villon
|voice, orchestra
|1910
|concurrent arrangement of L 126a;
texts: François Villon
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Vocal trio with orchestra
|-style="vertical-align: top"
|data-sort-value="035"|35
|data-sort-value="020"|20
|Daniel: Versez, que de l'ivresse. Aux accents d'allégresse, cantata
|3 voices, orchestra
|1882
|text: Émile Cicile
|-style="vertical-align: top"
|data-sort-value="052"|52
|data-sort-value="041"|41
|Le gladiateur: Mort aux Romains, tuez jusqu'au dernier
|3 voices, orchestra
|1883
|text: Émile Moreau
|-style="vertical-align: top"
|data-sort-value="061"|61
|data-sort-value="057"|57
|L'enfant prodigue, scène lyrique, cantata
|soprano, baritone, tenor, orchestra
|1884
|revised 1907–08, with additional reorchestration 1908 by André Caplet under Debussy's supervision;
text: Édouard Guinand
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Solo voice with piano
|-style="vertical-align: top"
|data-sort-value="000a"|–
|data-sort-value="001"|1
|Ballade à la lune: C'était dans la nuit brune
|voice, piano
|1879
|text: Alfred de Musset;
lost
|-style="vertical-align: top"
|data-sort-value="001"|1
|data-sort-value="002"|2
|Madrid: Madrid, princesse des Espagnes
|voice, piano
|1879
|text: Alfred de Musset
|-style="vertical-align: top"
|data-sort-value="002"|2
|data-sort-value="004"|4
|Nuits d'étoiles: Nuit d'étoiles, sous tes voiles
|voice, piano
|1880
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="003"|3
|data-sort-value="008"|8
|Rêverie: Le zéphir à la douce haleine
|voice, piano
|1880
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="006"|6
|data-sort-value="005"|5
|Caprice: Quand je baise, pâle de fièvre
|voice, piano
|1880
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="007"|7
|data-sort-value="016"|16
|Aimons-nous et dormons: Aimons-nous et dormons, sans songer au reste du monde
|voice, piano
|1880
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="009"|9
|data-sort-value="055a"|–
|Les baisers: Plus de fois, dans tes bras charmants
|voice, piano
|1881
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="011"|11
|data-sort-value="017"|17
|Rondel chinois: Sur le lac bordé d'azalée
|voice, piano
|1881
|text: Marius Dillard
|-style="vertical-align: top"
|data-sort-value="012"|12
|data-sort-value="018"|18
|Tragédie: Les petites fleurs n'ont pu vivre
|voice, piano
|1881
|text: Léon Valade
|-style="vertical-align: top"
|data-sort-value="013"|13
|data-sort-value="019"|19
|Jane: Je pâlis et tombe en langueur, Chanson écossaise
|voice, piano
|1881
|text: Leconte de Lisle
|-style="vertical-align: top"
|data-sort-value="015"|15
|data-sort-value="033"|33
|La fille aux cheveux de lin: Sur la luzerne en fleur
|voice, piano
|1881
|text: Leconte de Lisle
|-style="vertical-align: top"
|data-sort-value="016"|16
|data-sort-value="007"|7
|Fleur des blés: Le long des blés que la brise fait onduler
|voice, piano
|1881
|text: André Girod
|-style="vertical-align: top"
|data-sort-value="017"|17
|data-sort-value="030"|30
|Rondeau: Fut-il jamais douceur de cœur pareille
|voice, piano
|1881
|text: Alfred de Musset
|-style="vertical-align: top"
|data-sort-value="018"|18
|data-sort-value="011"|11
|Souhait: Oh! quand la mort que rien ne saurait apaiser
|voice, piano
|1881
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="019"|19
|data-sort-value="012"|12
|Triolet à Phillis "Zéphyr": Si j'étais le zéphyr ailé
|voice, piano
|1881
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="021"|21
|data-sort-value="000"|–
|Les papillons: Les papillons couleur de neige
|voice, piano
|1881
|text: Théophile Gautier
|-style="vertical-align: top"
|data-sort-value="022"|22
|data-sort-value="046"|46
|L'archet: Elle avait de beaux cheveux blonds
|voice, piano
|1881
|text: Charles Cros
|-style="vertical-align: top"
|data-sort-value="023"|23
|data-sort-value="048"|48
|Fleur des eaux: Non, les baisers d'amour
|voice, piano
|1881
|text: Maurice Bouchor
|-style="vertical-align: top"
|data-sort-value="024"|24
|data-sort-value="047"|47
|Chanson triste: On entend un chant sur l'eau dans la brume
|voice, piano
|1881
|text: Maurice Bouchor
|-style="vertical-align: top"
|data-sort-value="025"|25
|data-sort-value="000"|–
|Les Elfes: Couronnés de thym et de marjolaine
|voice, piano
|1881
|text: Leconte de Lisle
|-style="vertical-align: top"
|data-sort-value="026"|26
|data-sort-value="021"|21
|Fantoches: Scaramouche et Pulcinella
|voice, piano
|1882
|1st version of L 86 No.2;
text: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="028"|28
|data-sort-value="013"|13
|Les roses: Lorsque le ciel de saphir
|voice, piano
|1882
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="029"|29
|data-sort-value="034"|34
|Sérénade: Las, Colombine a fermé le volet
|voice, piano
|1882
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="030"|30
|data-sort-value="015"|15
|Pierrot: Le bon Pierrot que la foule contemple
|voice, piano
|1882
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="031"|31
|data-sort-value="023"|23
|Fête galante: Voilà Sylvandre et Lycas et Myrtil
|voice, piano
|1882
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="034"|34
|data-sort-value="037a"|–
|Il dort encore: Il dort encore, une main sur la lyre
|voice, piano
|1882
|piano reduction of an aria from the opera Hymnis;
text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="036"|36
|data-sort-value="022"|22
|Le lilas: O floraison divine des lilas
|voice, piano
|1882
|text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="038a"|38a
|data-sort-value="025a"|25a
|Flôts, palmes et sables: Loin des yeux du monde
|voice, piano
|1882
|text: Armand Renaud
|-style="vertical-align: top"
|data-sort-value="038b"|38b
|data-sort-value="025b"|25b
|Flôts, palmes et sables: Loin des yeux du monde
|voice, piano, harp
|1882
|arrangement of L 38a
|-style="vertical-align: top"
|data-sort-value="042"|42
|data-sort-value="028"|28
|En sourdine: Calmes dans le demi-jour
|voice, piano
|1882
|1st version of L 86 No.1;
text: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="043"|43
|data-sort-value="029"|29
|Mandoline: Les donneurs de sérénades
|voice, piano
|1882
|text: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="044"|44
|data-sort-value="014"|14
|Séguidille: Un jupon serré sur les hanches
|voice, piano
|1882
|text: Théophile Gautier
|-style="vertical-align: top"
|data-sort-value="045"|45
|data-sort-value="032"|32
|Clair de lune: Votre âme est un paysage choisi
|voice, piano
|1882
|1st version of L 86 No.3;
text: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="047"|47
|data-sort-value="031"|31
|Pantomime: Pierrot qui n'a rien d'un Clitandre
|voice, piano
|1883
|text: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="050"|50
|data-sort-value="039"|39
|Coquetterie posthume: Quand je mourrai, que l'on me mette
|voice, piano
|1883
|text: Théophile Gautier
|-style="vertical-align: top"
|data-sort-value="053"|53
|data-sort-value="043"|43
|Romance [musique pour éventail]: Silence ineffable de l'heure
|voice, piano
|1883
|text: Paul Bourget
|-style="vertical-align: top"
|data-sort-value="054"|54
|data-sort-value="044"|44
|Musique: La lune se levait, pure, mais plus glacée
|voice, piano
|1883
|text: Paul Bourget
|-style="vertical-align: top"
|data-sort-value="055"|55
|data-sort-value="045"|45
|Paysage sentimental: Le ciel d'hiver si doux, si triste, si dormant
|voice, piano
|1883
|
|-style="vertical-align: top"
|data-sort-value="056"|56
|data-sort-value="052"|52
|Romance: Voici que le printemps, ce fil léger d'avril
|voice, piano
|1884
|text: Paul Bourget
|-style="vertical-align: top"
|data-sort-value="057"|57
|data-sort-value="053"|53
|Apparition: La lune s'attristait des séraphins
|voice, piano
|1884
|text: Stéphane Mallarmé
|-style="vertical-align: top"
|data-sort-value="058"|58
|data-sort-value="054"|54
|La romance d'Ariel: Au long de ces montagnes douces
|voice, piano
|1884
|text: Paul Bourget
|-style="vertical-align: top"
|data-sort-value="059"|59
|data-sort-value="055"|55
|Regret: Devant le ciel d'été, tiède et calme
|voice, piano
|1884
|text: Paul Bourget
|-style="vertical-align: top"
|data-sort-value="063a"|63a
|data-sort-value="060a"|60a
|Ariettes oubliées
|voice, piano
|1885–87
|texts: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="065"|65
|data-sort-value="079/1"|79/1
|Romance: L'âme évaporée et souffrante
|voice, piano
|1885
|text: Paul Bourget;
published 1891 as No.1 of Deux Romances
|-style="vertical-align: top"
|data-sort-value="066"|66
|data-sort-value="079/2"|79/2
|Les cloches: Les feuilles s'ouvraient sur le bord des branches
|voice, piano
|1885
|text: Paul Bourget;
published 1891 as No.2 of Deux Romances
|-style="vertical-align: top"
|data-sort-value="067"|67
|data-sort-value="058"|58
|Barcarolle: Viens! l'heure est propice
|voice, piano
|1885
|text: Édouard Guinand;
lost
|-style="vertical-align: top"
|data-sort-value="070"|70
|data-sort-value="064"|64
|Cinq poèmes de Charles Baudelaire
|voice, piano
|1887–89
|texts: Charles Baudelaire
|-style="vertical-align: top"
|data-sort-value="073"|73
|data-sort-value="063"|63
|Axel
|voice, piano
|1890
|text: Auguste Villiers de l'Isle-Adam
|-style="vertical-align: top"
|data-sort-value="081"|81
|data-sort-value="074"|74
|La belle au bois dormant: Des trous à son pourpoint vermeil
|voice, piano
|1890
|text: Vincent Hyspa
|-style="vertical-align: top"
|data-sort-value="084"|84
|data-sort-value="006"|6
|Beau soir: Lorsque au soleil couchant les rivières sont roses
|voice, piano
|1890–91
|text: Paul Bourget
|-style="vertical-align: top"
|data-sort-value="085"|85
|data-sort-value="081"|81
|Trois mélodies de Verlaine
|voice, piano
|1891
|texts: Paul Verlaine
|-style="vertical-align: top"
|data-sort-value="086"|86
|data-sort-value="080"|80
|Fêtes galantes, Set 1
|voice, piano
|1891–92
|texts: Paul Verlaine;
1. 2nd version of L 42;
2. 2nd version of L 26;
3. 2nd version of L 45
|-style="vertical-align: top"
|data-sort-value="088"|88
|data-sort-value="076"|76
|Les Angélus: Cloches chrétiennes pour les matines
|voice, piano
|1892
|text: Grégoire Le Roy
|-style="vertical-align: top"
|data-sort-value="090"|90
|data-sort-value="084"|84
|Proses lyriques
|voice, piano
|1892–93
|texts: Debussy
|-style="vertical-align: top"
|data-sort-value="097"|97
|data-sort-value="090"|90
|Chansons de Bilitis
|female voice, piano
|1897–98
|text: Pierre Louÿs
|-style="vertical-align: top"
|101
|data-sort-value="094"|94
|Nuits blanches: Tout à l'heure ses mains plus délicates
|voice, piano
|1898
|text: Debussy
|-style="vertical-align: top"
|107
|data-sort-value="078"|78
|Dans le jardin: Je regardais dans le jardin
|voice, piano
|1903
|text: Paul Gravollet
|-style="vertical-align: top"
|data-sort-value="113a"|–
|data-sort-value="000"|–
|Colloque sentimental
|voice, piano
|
|text: Paul Verlaine;
1st version of L 114 No.3;
|-style="vertical-align: top"
|114
|104
|Fêtes galantes, Set 2
|voice, piano
|1904
|texts: Paul Verlaine
|-style="vertical-align: top"
|115
|102
|3 Chansons de France
|voice, piano
|1904
|text: Charles duc d’Orléans
|-style="vertical-align: top"
|data-sort-value="126a"|126
|119a
|Ballades de François Villon
|voice, piano
|1910
|texts: François Villon
|-style="vertical-align: top"
|129
|118
|Le Promenoir des deux amants
|voice, piano
|1904–10
|text: Tristan l'Hermite
|-style="vertical-align: top"
|135
|127
|Trois poèmes de Stéphane Mallarmé
|voice, piano
|1913
|text: Stéphane Mallarmé
|-style="vertical-align: top"
|147
|139
|Noël des enfants qui n'ont plus de maison: Nous n'avons plus de maison
|voice, piano
|1915
|text: Debussy
|-style="vertical-align: top"
|colspan="6" data-sort-value="999"|
Vocal duet with piano
|-style="vertical-align: top"
|data-sort-value="027"|27
|data-sort-value="049"|49
|Églogue: Chanteurs mélodieux, habitants des buissons
|soprano, tenor, piano
|1882
|text: Leconte de Lisle
|-style="vertical-align: top"
|data-sort-value="041"|41
|data-sort-value="037b"|–
|Ode Bachique: À toi Lyaeos, glorieux Bacchos
|soprano, tenor, piano
|1882
|piano reduction of a vocal duet from the opera Hymnis;
text: Théodore de Banville
|-style="vertical-align: top"
|data-sort-value="048"|48
|data-sort-value="051"|51
|Diane au bois
|soprano, tenor, piano
|1883–84
|piano reduction of a vocal duet from the opera Diane;
text: Théodore de Banville;
revised 1885;
fragments
|-style="vertical-align: top"
|data-sort-value="049"|49
|data-sort-value="042"|42
|Chanson espagnole: Tra la la… nous venions de voir le taureau
|2 voices, piano
|1883
|text: Alfred de Musset
|}
Notes
References
External links
- Catalogue François Lesure des œuvres de Claude Debussy on Musicbrainz (has both versions of Lesure's catalogue, with newer updates to the 2001 version).
- Piano Library: Claude Debussy Complete list of Debussy piano works with musical extracts, difficulty ratings and recommended editions.
- Le martyre de Saint-Sébastien, vocal score, transcribed by André Caplet (from the Sibley Music Library Digital Scores Collection at the University of Rochester)
- Le martyre de Saint Sébastien, La chambre magique: prélude (acte II), orchestral score (from the Sibley Music Library Digital Scores Collection)