154 Lectures on Modem Music
performed her task creditably, for, in the fall of 1873, De-
bussy was able to enter the Paris Conservatory and continue
his studies there under Lavignac, Marmontel and Guiraud.
The first three years, he won medals in solfeggio; in 1877,
a second prize in piano; in 1880 a first prize in accompani-
ment, but, curiously enough, he was never given any dis-
tinction in harmony.
During the summer of 1879, Debussy went to Russia as
family pianist to Madame Metch, the wife of a Russian
civil engineer. The influence of this trip on Debussy’s
musical development has probably been somewhat exag-
gerated. Many critics are inclined to regard it as having
been the composer’s “road to Damascus”, the capital and
decisive point in his artistic development. That he heard
in Russia some of the works of Borodine and Rimsky-
Korsakow is at least probable (though these composers
were relatively little known at this time) and we know
that he was impressed by the freedom and abandon of
Russian gypsy music. But with the music of Moussorgsky
he did not become acquainted until later.
On his return to Paris, Debussy continued, of course, his
studies at the Conservatory. Guiraud, his professor of
composition, appears to have realized something of the ex-
tent and significance of the boy’s talents and gave him no
little individual counsel and encouragement. Under
Guiraud’s wise guidance, Debussy made rapid progress and
a few years later (1884) won, with his cantata “The
Prodigal Son”, the much coveted Prix de Rome.
From Rome, in accordance with the regulations, Debussy
sent back to the Institute as proofs of his industry: the
first part of an opera based on Heine’s Almanzor;
“Spring”, a suite for orchestra and chorus without text;
a “Fantaisie” for piano and orchestra and “The Blessed