Debussy's Radical Search for Simplicity

In 1889, Achille-Claude Debussy, then in his mid-20s, was one of 30 million people to walk through the iron arches of the newly completed Eiffel Tower. Throughout that year, the arches served as the grand entryway to the Exposition Universelle, a world's fair celebrating the cultural, technological, and colonial prowess of France a century after the revolution. A stunning variety of sights greeted visitors: a sharpshooting Annie Oakley, some 16,000 ultramodern machines (housed in the largest indoor space ever constructed), and, of course, the Eiffel Tower itself, the world's tallest and possibly most bizarre building at the time. But Debussy seems to have been most impressed by something he heard—the work of musicians from what was then French Indochina and is now Vietnam. More than 20 years later, he raved about the opera they performed, in which “a furious little clarinet directs the emotion, a gong organizes the terror … and that's all! … Nothing but an instinctive need for art, needing ingenuity to satisfy; no hint of bad taste!”