How did Claude Debussy treat individual orchestral instruments like soloists?

Claude Debussy challenged traditional 19th-century orchestral practices by undermining the rigid, departmentalized structure of the orchestra—which typically grouped instruments into fixed woodwind, brass, and string sections. Instead, he treated individual instruments with a new sense of independence, effectively turning the orchestra into a vast chamber-music ensemble where each instrument functions almost like a soloist.1

His approach to specific instrumental groups included:

• Strings: He rejected the traditional view that string instruments should be primarily lyrical, instead utilizing them for innovative textures and colors, such as the pizzicato writing in his String Quartet or the symbolic, wave-like passages in La Mer.1
• Woodwinds: He moved away from using woodwinds merely for virtuosic displays, treating them instead as sources of wide-ranging color, similar to the human voice.1
• Brass: He employed brass instruments in original ways to achieve unique color transformations.1

By focusing on these subtle shifts in timbre and color, Debussy created a shimmering interplay of sound that prioritized atmospheric light and shadow over traditional orchestral construction.123