Claude Debussy wrote Paysage sentimental, for voice & piano, L. 45 around 1880. The text is by Paul Bourget, one of the composer's favorite poets. Though obviously blistering with talent for a teen of eighteen, Debussy found his sound slowly, and this song is indicative of only one component among many that would later constitute his mature voice. One striking quality of Paysage sentimental is its cosmopolitan quality, containing concurrent Russian, French and Germanic flavors. It was written during the year he first renounced the German influences on French music. He may have come to that conclusion later on in the year, or perhaps his love of Wagner's music, well documented around the mid-1880s, was a separate matter from other German composers. There was so much going on in the young man's life in 1880, and a great deal was at stake if he wanted to be successful. Much of what he said at the time can be taken in different ways.

From 1872 until 1879, Debussy had been a student of the Conservatoire. He then left to play piano for wealthy patrons, the second being the Russian music lover Mme. von Meck who was Tchaikovsky's benefactor. Debussy was taken on various musical tours throughout Europe and as far east as Moscow. He proved himself an able courtier, declaring a French/Russian musical alliance that no doubt pleased von Meck. Many Russians felt that French music and culture was distinctive and elegant. It was the language of choice among Russian aristocrats. The comparison would be taken as a compliment to any Russian music aficionado. During this period, Debussy was absorbing a great deal of music from Italy, Austria, and other countries. His music was affected, becoming more cosmopolitan. Paysage sentimental has hints of Massenet lightness, Brahms' evolving ostinato technique, and hints of Borodin's melodic style. Like many works he completed while under the wing of von Meck, the song is languid, with an easy-going charm and all the manners required for the better salons.

Debussy did not come from an affluent household, and was determined to reap the rewards that came with the admiration of moneyed society. He attempted to woo an elite class of women. Though he was small and clumsy for his age, his music proved persuasive. The idle rich pandered to artists throughout the nineteenth century, regarding the arts as a kind of less restrictive faith. Being close to artistic genius was comparable to being close to God. For Debussy, convincing von Meck of his genius meant less financial stress. Tailoring a piece of music to an aristocrat's preconceptions of brilliance was within his capacity, and he took that step. Though he was only eighteen, his ability to imitate other styles and genres was solid. Many of his songs and other works from this period reveal a musical chameleon; it is not the music of the future yet, but Debussy's accurate depiction of different styles was perhaps an expression of his yet-unformed gifts.

The Conservatoire was less receptive to Debussy. He moved back and forth between his studies and von Meck during the early 1880s. Though he eventually won the Prix de Rome, which required the Conservatoire's approval, the same institution regarded him as a feral troublemaker and was not receptive to his thinking or conduct. Von Meck's influence and patronage was necessary to get the composer's career started. Debussy may have been playing his audience somewhat, but he had little choice, and many works from this period, including Paysage sentimental, provide an engaging and enjoyable listen.

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