In the nineteenth century, French musical activity was mostly structured around opera. It is hard for us to imagine the extraordinary influence it exerted over composers, the press, and consumers of music and performance. It was everywhere, not just in the theatres dedicated to it, but also in concerts and salons, resulting in a truly operatic culture. Piano music, as demonstrated by Liszt, was deeply indebted to opera through reductions, transcriptions, fantasies, variations, and pots-pourris of all sorts. Vocal models also affected the performance and composition of instrumental melodies by many composers. In hyper-centralised France, the heart of this world was Paris in the handful of theatres devoted to opera, which produced most of the original works. The French operatic system functioned with a centre and periphery: there was a producer (the capital) and a multitude of receivers (the provincial towns). This chapter is devoted to Paris’s operatic institutions during Debussy’s lifetime. It broadly considers how they were financed, the ways in which they could make or break composers’ careers, and what was entailed in gaining access to their privileged stages. It also enumerates the differences between the operatic institutions.

Although losing more and more ground to German firms in the 1880s, the large French music publishing houses, such as Hartmann, Heugel, Choudens, and Durand, played a predominant role in French musical life by distributing all kinds of music, from the most popular to the most learned, as well as numerous adaptations and transcriptions, for example when an opera or a work was a huge success. Apart from those publishing houses that dominated the French market, the Parisian market was teeming with small publishers. Before being supported by Georges Hartmann in 1894, the young Debussy tried to have his works published by all sorts of publishers, from the most prestigious, such as Durand or Choudens, to the least known, such as Paul Dupont. Jacques Durand was a both a friend and business associate during the latter part of Debussy’s life, for he took over the publishing of Debussy’s music and helped him out in many ways. Their extensive correspondence is consequently revealing.

Debussy numbered himself among the army of critics commenting on Paris’s burgeoning musical life. This chapters sets this criticism and other writing in context by relating the writings to the organs in which they appeared and the causes they often sought to promote. Not only was Debussy an active and often brilliant critic for two periods in his life, he also both benefitted and suffered from critical activity. He even numbered a critic or two among his correspondents and friends. Debussy’s attraction to writing music criticism was largely as a source of income, but his writings left their mark on the imagination of his contemporaries, not least because they contain aspects of his thought and, through his elliptical style, raise and sometimes resolve problems of musical aesthetics.

This chapter explores the few opportunities for the education of a budding musician in Debussy’s France. These were primarily private teachers, especially piano teachers, and admission to the Paris Conservatoire (or regional conservatoires). The ultimate prize for the aspiring composer was the Prix de Rome, which could be crucial to the advancement of compositional careers. Debussy’s early education with a private piano teacher, Antoinette Mauté de Fleurville, was critical for his later development; indeed, he praised her playing and supported the claim that she was a pupil of Chopin. He went on to spend a decade at the Paris Conservatoire, where in many ways he trod water, at least until his success in the Prix de Rome. Even then, however, the winning of the coveted prize failed to launch his career in the way it helped others.