The Genesis of Debussy's 'Jeux'

Author(s): Robert Orledge

Source: The Musical Times , Feb., 1987, Vol. 128, No. 1728 (Feb., 1987), pp. 68-73
Published by: Musical Times Publications Ltd.

Stable URL: https://www.jstor.org/stable/964775

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend
access to The Musical Times

This content downloaded from

82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms
 The Genesis of Debussy's 'Jeux'
Robert Orledge

In an unusually revealing interview, published in The New notations by Debussy, Dyagilev and Nizhinsky, in the Pier-
York Times on 26 June 1910,1 Debussy admitted that: pont Morgan Library, New York (PM).4 It is now clear
There are days and weeks and often months that no ideas come that Debussy composed three rather than two versions of
to me. No matter how much I try I cannot produce work that the climax (bars 611 - 88 in the Durand piano reduction:
I am satisfied with. They say some composers can write, 'R'),5 of increasing length - although the concept of a
regularly, so much music a day - I admit I cannot comprehend build-up in 3/8 leading to a shorter 'triple kiss' climax in
it. Of course, I can work out the instrumentation of a piece 3/4 remained constant - and that he made at least three
of music at almost any time, but as for getting the theme itself
- that I cannot do. attempts to end Jeux to his satisfaction. The idea that he
rewrote
I have tried it. I have forced myself to work when I least the climax after Dyagilev's first visit on 3 or 4
September
felt like it, and I have done things which did not seem so bad 1912 and then lengthened the end after his se-
cond on 31 October6 is perhaps an over-simplification; the
at the time. I would let those compositions lie for a couple
of days. Then I would find that they were only fit for the chronology
waste that follows may offer a more likely explana-
basket. tion of the work's genesis, at the same time highlighting
Although the above statements almost certainly refer thetocompositional problems Debussy faced when forced to
Debussy's Poe opera The Fall of the House of Usher (the work under contractual pressure from a personality as
second version of whose libretto he was struggling to finish strong as Dyagilev.
at the time), it is true that the gestation period for most
of Debussy's major works was much longer than the 1912 dates
in the surviving manuscripts suggest. For instance, 18 weJune: Contract with Debussy signed by Dyagilev in London
know from Ricardo Vifies's journal that Debussy played for a ballet on a subject by 'M. Nijinski'.7 Debussy was to
him versions of the Images 'Reflets dans l'eau' and 'Mouve- be paid 10,000 francs: half on delivery of the piano score (due
ment' as early as 1901, and that he made sketches for 31 La August 1912), half on delivery of the orchestral score (due
31 March 1913).
fille aux cheveux de lin in 1907. This makes the swift com-
12 July (or shortly after): Scenario (probably by Dyagilev) reaches
position of Jeux (the only major theatrical work apart from
Debussy in Paris.
Pelleas completely orchestrated by Debussy) all the more23 July: Debussy breaks off the orchestration of 'Gigues' to
remarkable. Perhaps it is the exception that proves the rule?
work on Jeux, complaining to Durand of the stifling heat (32?C
Jeux is also a living testament to the perspicacity and
in the shade) and the noise of the nearby railway.8
c23 July-22 August: Debussy composes Jeux (sketches
charismatic power of Dyagilev, who almost certainly played
a major role in the creation of its scenario and who twice
destroyed or lost); he tells Andre Caplet that he has finished
the ballet on 25 August.9
caused Debussy to take the unprecedented step of rewriting
its 'triple kiss' climax, as we shall see. c6- 8 August: Dyagilev and Nizhinsky visit Debussy in Paris, en
route for Deauville. Further production details are settled but
Jeux is also exceptional in the completeness of the
Debussy refuses to play them what he has written so far, 'not
manuscript record of its genesis left by the usually secretive
wishing these barbarians to poke their noses into my ex-
Debussy. This genesis is almost as complex and enigmatic
periments in personal chemistry! But at the end of this month
as the epoch-making ballet itself, providing us at the same
the ballet will have to be 'executed', in the most unpleasant
time with further insights into Debussy's compositional sense of this word!'10
mind. Two further manuscripts have recently become
23 August- 2 September: Debussy copies out the first draft, SW.
available for study which have provoked new thoughts (Theon first version of the climax, A, is illustrated: this joins
the chronology of the composition of Jeux.2 These are the
R, p.36 bar 18 to R, p.42 bar 1, and consists of 31 bars of
earliest known draft, at the Stadtbibliothek Winterthur3/8in and 8 of 3/4.)
Switzerland (SW),3 and the piano reduction made by an
unknown professional copyist for Nizhinsky's use, with an-

4Pierpont Morgan Library, New York (Koch Deposit no.301), 43pp. (quoted by
kind permission); this MS was formerly in the collection of Serge Lifar.
1'Debussy discusses music and his work', pts 3-4, p.5; interview conducted at
Debussy's (Paris) home (80 avenue du Bois de Boulogne) on Friday 17 June5Durand
1910, no.8573 (1912), p.36 bar 19-end p.41 (42pp.)
perhaps by Michel-Dimitri Calvocoressi. (Debussy and the Theatre, pp. 165 - 7 and exx.43 - 4; ex.43 gives what I now know
to be
2as compared with that in my Debussy and the Theatre (Cambridge, 1982), 162 - the
76 second version of the 'triple kiss' climax.
3Rychenburg-Stiftung: Dep. RS 11/3 (quoted by kind permission), Particell, 7Bibliotheque
15 (16) Nationale, Paris, Res.Vm.Dos.l3 (7)
pp. music, mostly on four staves. Tlie title-page is dated '1913- 1915' and the final de Claude Debussy a son editeur (Paris, 1927), 109
8Lettres
page '23.28.29.VIII.12/1.2.[IX.12]'. I am grateful to Dr Roy Howat for providing
9E. Lockspeiser, ed.: Lettres inedites a Andre Caplet (1908-14) (Monaco, 1957), 59
me with the location of this MS, previously thought lost, and for other helpful
suggestions. lOunpublished letter, Durand archives, Paris, dated 9 Aug 1912

68

This content downloaded from

82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms
A page from the
Wlinterthur MS
(see n.3); climax
A begins at bar 5
and contilnues to
the foot of the
page
3 or 4 September: Debussy plays SW to Dyagilev, who wants
the end lengthened.
5-12 September: Debussy composes second version of climax
(B) as the first draft of the Bibliotheque Nationale MS
(BN)," telling Durand on 5 September'2 that 'the few bars
requested by Dyagilev have obliged me to modify - quite hap-
pily - the end of Jeux ... it is better in place now and the
voluptuousness oozes out freely (the Russians are like Syrian
cats)'. Then, on 12 September, Debussy confirmed that this
revision was the most substantial of all by telling Durand:'3
'You will find considerable changes in the end of Jeux. I have
worked at it until the very last minute. Success has not been
easily achieved, for the music must fit a rather risque situa-
tion Ithe 'triple kiss' climax, perhaps a late addition by Dyagilev
or Nizhinsky]! It is true, however, that when it is a question
of ballet, immorality escapes through the legs of a female
dancer and winds up in a pirouette.'
The result was now bars 611-58 (R, p.36 bar 19 to p.39
bar 12) as we know them, plus the passage shown in ex, 1, giv-
ing a total of 70 bars (58 in 3/8, 12 in 3/4), almost twice the
length of climax A.
mid-September-early October: PM is made by a professional
copyist, to which Debussy adds fuller and more precisely plac-
14letter to Durand, op cit, 111, dated 1 Nov 1912
11MS1008, 22 (24) pp.: erroneously MS1088 in Debussy and the Theatre
12op cit, 110
13op cit, 111
This content downloaded from
82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms
ed stage directions than those found in R, for Nizhinsky's
benefit.
31 October: at 4 p.m., Dyagilev visits Debussy again
'accompanied by a diminutive lady as biting as a mosquito,
who was in charge of rehearsals. He seemed satisfied, and only
asked me to lengthen the end a little, at which I have been
occupied all day'.'4
1 November: Debussy composes third version of climax (C),
expanding the end of the 3/8 build-up by 8 bars and slightly
revising the 12-bar 'triple kiss' passage. This gave a total of
78 bars (as in R, p.36 bar 19-end p.41), exactly twice the
length of climax A in SW. Debussy used the last four pages
of PM as a working draft for the final version of the climax,
which he then copied into the final version of BN (see
pp.21a -b).
mid-November: Debussy makes other minor changes to BN
(including a change to the closing bars, to be discussed later).
December: BN is used for printing R, with further changes at
the proof stage (including a reharmonization of bars 593 - 604).
1913
28 March-24 April: Debussy makes pre-orchestral draft'5 and
full score 16
15Pierpont Morgan Library, New York (Robert Owen Lehman deposit), 31pp.
(quoted by kind permission)
16Bibliotheque Nationale MS966, 79pp., n.d. (Jeux is added in another hand)
69
 Ex.l BN, p.21a bars 5f (Climax B)

A l il: At : ht AiL: fh ti Ltt k I f-it #t8 t i ' . \ _rl ,

I
i 8 ' ' I . I I r r I r ri -i r I'I h i r r r r r I I'-P- -
I ~ ~ ~ ~ ~ ~ ~ ~ I!I IJJLKL
! C" nf]4 [c .]
r pii,,~~~~~~
" Z?tF:fftrflqttrrr rVrt?CtU:rro-rr ff' r rr rrrr Ir I

~"tli Ir !r C 1Ft~ S 4 -?f;

chronological
15 May: Premiere at the Theatre des Champs-Elysees by certainty. Debussy's first thought was to
the ballet with the slow opening chords as they had o
Dyagilev's Ballets Russes; orchestral score subsequently
printed by Durand,.17 red in bars 5-8, plus the 'big bang' (ex.2a). The do
?1915: Final orchestral amendments made bybar-line
Debussybefore
in the change to 3/8 in SW does not ind
printed score now in the Abbaye de Royaumont.'8
that this was the original end of the ballet, as Debus
always
To show that the above order of manuscripts did this when changing metres. In addit
(SW, BN,
although
PM) is correct, I again cite the beginning of bar 4 of ex.2a has the tonic (A) in the b
the final
climax. When Debussy reached bars 611- 12 in Debussy
BN (p. never
19 ended his orchestral scores without a
bars 27 - 8), he copied out the first two bars bass note. A
of climax Then he added the linking descending semi
figure
in error; this shows that he was making his piano in bar 4 and cut out the last of the undulating w
reduc-
tone
tion draft direct from SW, He then crossed these twochords
bars (ex.2b). The five beats in the fourth bar of
were an
out and substituted bars 611 - 12 as in the printed error on Debussy's part resulting from overla
reduc-
ex.2b onbars
tion (p.36). As there is no sign of these crossed-out ex.2a (unless beats 3 and 4 were meant to be b
2 and
in PM, we can only conclude that it was copied from the 3, or the final crotchet rest was added by mist
This examples
earlier, first draft of BN. Another of many similar second version survived through the first draft of
and p.30
is the six-bar passage at the start of BN p.16 (R, PM, bars
and it was probably only in November 1912,
Debussymade
11 - 16, or bars 483 - 8). On SW, p. 11 line 3, Debussy had written his third climax, that he expan
the final
one of many short extensions by repetition, writing the first3/8 section to four bars as we know it today
two bars on the two upper staves (with a repeat p.42,
marklast line). Curiously, in BN, he also changed the
above)
and adding bars 5-6 on the two lower staves. nerWhen
part in hebars 704- 5. First it was as in ex.3a which
copied this into BN he missed out the sixth bar naturally
in error;copied into PM; then he changed to ex
and thus we find only five bars in PM, corrected possibly so that it sounded less like the start (bars 7
to six
by Debussy himself, by writing 'deux fois' over But then
bar 5.he perhaps decided that the result was too si
In addition, this passage is notated in flats in to SWthe
butstart
con- of the final scene of Khamma, and revert
verted into sharps in BN and PM. No copyist would have pattern found in SW (ex.2a) when the p
the original
taken it upon himself to do this, so BN mustreduction have beenwas printed (R, p.42 bars 16-17). Finally
prepared by Debussy first and then copied asthe orchestral score (pp. 117- 18) he left the rising fi
PM.
The final bars of Jeux represent an area of less out altogether and substituted an imitation of the de
ding string chords in whole-tone major 2nds on the h
Thus, ignoring minor details, we also have three m
stages in the emergence of the end of Jeux: D (ex.2a
(ex.2b) and F (as in R). From the clarifying table belo
17no.8842 (1913), 118pp.
it can be deduced that, whereas we can attribute the t
18Asnieres-sur-Oise, collection Francois Lang, now the property of Mme Henry
Goiiin (quoted by kind permission) versions of the climax (A - C) directly to Dyagilev's
70

This content downloaded from

82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms
terventions, the same cannot be said Ex.2 SW,p.15 1.2
(a) first ending -
for the versions of the end, which
must therefore be considered as in- JA d"t4

dependent stages in the process of

-4 i i I c y //? - V 7
composition, reflecting Debussy's
minute concern for detail and
timing.
SW can reveal still more about
Debussy the composer. First,
although there are very few clues as 4 IV f - 1$ G- g -
to the instrumentation (and those
that there are do not necessarily tal- tV i ] t S0 ICl
ly with the orchestral score - as
with the descending figure in bar 75 (b) second ending
for two clarinets that Debussy later
put on divided second violins: see or-
chestral score p. 12 bar 4), Jeux was
?### /, P- Sf-
clearly conceived in orchestral terms
as a polyrhythmic score of great
complexity. Surprisingly, there are
few dynamic indications, only one
tempo marking (Piu lento at bar
168), no sign of a constant quaver | S fl f { ? *-B- D
pulse, and (apart from the start) no
indication that the percussion were
to play an important role. Second-
ly, more than any other manuscript Ex.3 BN, p.22 1.2 (bars 704-5)
ofJeux, SW shows just how much (a) first version (b) second version

Debussy relied on repeated segments a 0 ^h ^ <TTr- ^ -_

of up to eight bars to establish sur-
face continuity, and there are many
instances of passages being expanded lat
is also a considerable amount of detail for a first draft, some
Rochester sketch of La mer). For instance,
of which was later discarded while more was inevitably add-
in bars 39-42 was originally only two bars
ed. But the melodic thread remains constant throughout,
the famous tennis ball originally hovered in th
and Debussy seems to have sensed extremely quickly when
(instead of three) bars, in bars 70 - 73. But t
he had made a wrong change of direction. He made two
of any scenario, and the variance of detail i
attempts at the continuation from bar 195 (the second be-
between R and PM suggests that the cinema
ing inserted as page '4/B'), and he also inserted bars
cept of Jeux might well have been oversta
214-21 on an extra staff at the top of p.5. Similarly, there
Thirdly, apart from the continuation
was a different final inclimax, Debu
bars 521-2 (p.12, which
conception of Jeux was remarkably assured
originally led direct to bars 527 - 30), but again Debussy
the printed version with very few second th
spotted this after only two bars and inserted bars 521-6
and 531-4 at the top of the page, clarifying everything
by numbering the bars from 1 to 17 (17 being bar 535, fig.
MS date climax ending 61). There was also a different (five-bar) continuation from
bar 606 (p.13), which Debussy simply removed after he
SW 23 Aug-2 Sept 1912 A D-E realized that it was building up his first version of the
climax too early. One later addition to both SW and PM,
BN 5-12 Sept 1912
(draft) B E
however, was the descending climactic arabesque in bars
B-C E
PM mid-Sept 430- 34. This was carefully recopied in BN (p. 14a) before
BN (final) mid-Nov 1912 B-C2 E-F it was sent to the printers.
R Dec 1912 C F3 Fourthly, SW shows that Debussy originally intended
to use the important clarinet motif (bars 49- 50) more in
the later stages of Jeux, sometimes in contrapuntal com-
lrev. after 31 Oct 1912
bination with other motifs. It appeared in bars 500-01 and
2copied from draft in PM
3with bars 704-5 inner part as in D 580-81 (this instance finding its way as far as R before
71

This content downloaded from

82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms
 being removed in the orchestral score), as well as several choreography . . . trampled my poor rhythms underfoot
times in the first version of the final climax (ex.2a). But like weeds'. The differences between BN, PM and R are
here Debussy did not use bar 49 in augmentation at the too numerous to list fully (like the many tempo differences
'triple kiss' climax itself, rather waiting till the fifth bar between the various sources), but the most significant ad-
of the 3/4 passage to introduce it. Presumably he later ditions to PM are shown in Appendix I below.
recognized its potential for tying the whole piece together,
as it does in climaxes B and C, so he subsequently remov-
ed two of its earlier appearances to make the climax more The final stage in the genesis of Jeux concerns its orchestra-
telling. Significantly, Debussy does not use the exact tion, and because so much detail was involved Debussy took
rhythm and shape of bar 49 between bars 621 and 676 in the unique precaution of making a complete pre-orchestral
climax C. Overall, climax A (ex.2a) has less rhythmic in- draft (see n.15). As early as 25 August 1912, when he was
terest and a less controlled sense of forward motion. It is just starting to write out SW, he had told Caplet of his
need 'to find an orchestra "without feet" for this music
also lusher harmonically, relying heavily on sliding parallel
9ths and scalar motion, and making greater use of an an- . I am thinking of that orchestral colour which seems
choring bass line. to be illuminated from behind, of which there are such
PM is most interesting for Debussy's additions to themarvellous examples in Parsifal!' 2 Thus the double
scenario, especially as the original text has not survived.basses are little used, only appearing consistently in the
Much of the detail may well have been of Debussy's in-passage from bar 515 onwards as the music begins to build
vention, elaborated from a basic scenario by Dyagilev (fromsteadily towards the main climax. Much of the thematic
an idea by Nizhinsky). Some of the additions show howmaterial is given to the woodwind with elaborate,
concerned Debussy was that the action should be con- diaphanous surrounding figuration on the strings providing
tinuous, varied and precisely synchronized with the music, the lighting from behind, as in bars 157-67 (fig.19f) or
while others reveal his lively sense of humour. In the end,bars 535-50 (fig.61f), to cite just two passages. But
curiously, in his orchestral preparation, the string and horn
though, Nizhinsky's stilted choreography made all this little
more than wishftil thinking, and Debussy later parts seem to have been completed first with the wood-
complained'9 that Nizhinsky 'with his cruel and barbarouswind (especially oboes, flutes and piccolos) added later. The

19letter to Gabriel Pierne, 4 Feb 1914 20Caplet letters, op cit, 60

IPSWICH BOROUGH COUNCIL

and TRIANON MUSIC GROUP

POPPER: 1 5 Studies for Cello

op.76 no.1 for 2 Cellos ?2.70

POPPER: 10 Studies for Cello

op.76 no.2 for solo Cello ?2.70
Saturday 25 & Sunday 26 July 1987
HRABE: 86 Studies for solo at the IPSWICH CORN EXCHANGE
Double Bass ?9.00

SIMANDL: Gradus ad Parnassum for * A friendly, imaginative competition

solo Double Bass ?7.20 * Open to young pianists aged 25 or under at the
date of competition.
HOFFMEISTER: Concerto No.1 for * Distinguished jury
Double Bass and Piano ?7.80 * Awards including concert appearances and cash
VANHAL: Concerto in E for Double prizes totalling ?900.
Bass and Piano ?5.70 CLOSING DATE FOR ENTRY: MARCH 31 1987

PICHL: Concerto in D for Double Bass
and Piano
All works from the catalogue of
Friedrich Hofmeister, Leipzig.
For further details and application forms
?4.80 contact local piano teachers, nlmsic lecturers or zvrtitc to:
JANET DANN,
THE COMPETITION ADMINISTRATOR,
TRIANON EASTERN REGION PIANO COMPETITION,
6 BATH ROAD, FELIXSTOWE, SUFFOLK 1P11 7JW

IPSWICH BOROUGH COUNCIL

DEPARTMENT OF RECREATION AND AMENITIES

EA S TE R N
0Bersffi
Brewers SufYCOBBOLDce
of fine Suffolk ales since 1723.

SSOCIATION

72

This content downloaded from

82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms
colouristic percussion parts are also missing, apart from
the beginning and the end, and even in the calligraphic
miracle of the orchestral score (see n.16), the xylophone
(often spelt 'xilophone') seems to have been a late addi-
tion. Similarly, with a few exceptions, the percussion parts
from bar 535 to the end were added in pencil (while the
remainder is in blue ink) and Debussy frequently seems
to have been unsure of the standard orchestral layout as
far as the celesta, timpani and percussion were concerned.
His large orchestra with quadruple woodwind seems to
have grown in the process of orchestration with the triangle
entering at bar 284 (fig.33), the three trombones and tuba
at bar 413 (three after fig.47) and the sarrusophone at bar
474 (two after fig.53). Once these instruments had been
introduced, however, Debussy remembered them till the
end.
In the pre-orchestral sketch, Debussy seems to have con-
sidered bars 563-4, the lead into the main scalar theme
(p.95), as a more substantial climax than the 'triple kiss'
on p.113. The latter is scored more fully in the final ver-
sion, whereas bars 563 - 4 were originally accompanied by
down and up harp glissandos, leading to the main theme
at bar 566 doubled on the trombone. At the proof stage
of the orchestral score, relatively little musical alteration
took place from Bibliothique Nationale MS966, but it was
only at this last moment that metronome marks were add-
ed, suggesting a more or less constant quaver pulse bet-
ween the opening 4/4, Tres lent (crotchet = 52) and the 3/8
Scherzando at fig. 1 (dotted crotchet = 72). The error on p.51
of the orchestral score in which the quaver should be con-
stant throughout was only corrected in the Royaumont or-
chestral score, probably in 1915. Here Debussy also made
numerous minor adjustments to the scoring, chiefly to
lighten the internal texture (bassoons and horns) or to make
the vital melodic thread more clear. The most important
are listed in Appendix II below.
It seems strange, in view of the lively interest he main-
tained in the ballet, that Debussy did not press for these
changes to be incorporated into subsequent Durand edi-
tions of the orchestral score of Jeux. The unusual number
of surviving manuscripts and revisions are, I feel, a
testimony to the importance and complexity of Jeux rather
than an indication that it was a work conceived in haste
which caused Debussy to repent at leisure. Whether it
would have had its climax doubled in length and better
integrated into the ballet as a whole were it not for the
perspicacity of Dyagilev is another matter; but we certain-
ly owe much to the great impresario as catalyst and critic
in the production of what many regard as Debussy's most
important and far-reaching orchestral score.

APP 'ENDIX I
bar 341 (upbeat): '"It's thus that we shall dance"'
106: 'The first young girl remains melancholy and apprehensive despite the 346: 'She repeats the same figure (in mockery)'
352: '"Don't mock me", he implores!'
tender enticements, the persistent invitations of the second, during which they
both dance.' 358 (upbeat): 'They dance together.'
224: 'He began to dance alone, the girl follows his movement with a337:
joy 'The young girl escapes and hides behind a cluster of trees'
and an envy that she conceals with great difficulty.' 378: 'The young man, in sport, shakes the branches (1)'
245: 'They dance together, and from this moment, the dance should assume 379:a 'During this game, the first young girl begins to be sad at being alone (2
381: 'Same game as (1) above, on the other side'
distinctly voluptuous character, all the while remaining exquisitely tender.'
251: 'He demands a kiss' 383: 'Same as (2), during which the two others disappear'
254: 'He insists' 387: 'They return almost immediately, the young man pursuing the young
256: 'She escapes' girl . . . they do not run, but rather leap like young mad things!'
257: 'He insists' 435f: 'In this episode Nizhinsky will be able to interpose his authority. I leave
258: 'She escapes' it completely to his care to choose this or that opportune moment.'
264: '(Reprise a deux - pointes altern6es (?))' 442: 'Dance (first young girl) with movements fatigued with yearning'
278: 'She lets herself go in the arms of the young man . . . (almost!)' 446 (second crotchet): 'The second young girl begs her tenderly to rest'
294: 'The second young girl is determined to get herself heard' 451, 452: '"Rest", says, the first' [first crotchet]. '"No!"' [second crotchet]
301: 'She is almost enraged' 473: 'He foresees confusedly the unknown joys and the intoxication of dancing (!)
305-7 (last 2 demisemiquavers of each bar): 'She advances stampinga trois
her . . .'
foot . . .' 483: 'They don't dare yet, but they are already, half. . . consenting'
308: 'and begins an ironic and mocking dance . . .' 515: 'Which should be something like the triumph [trihomphe] of Nizhinsky .
315: 'that the young man follows, at first with amused curiosity,' for from this moment, the two young girls are like drunken little Bacchantes.'
321: 'then with an increasing interest.' 677 (climax); 'At this moment, the young man, in a passionate gesture, brings
323: 'Little by little he leaves his first companion and turns towards the their three faces together, and a triple kiss mingles them in an ecstasy which
second young girl.' lasts until the 3/8 time [bar 689].'
331: 'Not being able to resist any longer, he invites her to dance with him.' [upbeat 697-700 (chords on strings and harps represent): 'The birds in the
to bar 336] trees whose sleep has been interrupted by the distraught flight' [of the three
338 (upbeat): 'New invitation' dancers into the nocturnal park, after a tennis ball lands at their feet.]

APP 'ENDIX II
bar
51: addition of tambour de basque, pp, first quaver 515-16, 519-20: same chord held on 3 tbns, dotted crotchets tied to qua
110-11 (first quaver) to 112-13 (first quaver): bns 1 and 2, removal of trill figure 523, 525: chords on harps changed to quaver, quaver rest, quaver
131: bns 1 and 2, shortened to quaver 529: 3 bns quaver only, sarrusophone deleted
132: hns 2 and 4, shortened to quaver 593-4: eng hn doubles cls
141: woodwind shortened to crotchet 595-7 (first quaver): 2 obs double eng hn
407-10: bn 3 deleted 597-8: eng hn doubles cls
408-10: obs 1 and 2 double fls 1 and 2 593-6: bns 2 and 3 deleted
409-10: eng hn doubles cl 1 674, 676; crashes on 2 cymbals
455, 465: top notes of harp glissandos an octave higher 690: cymbal stroke 'baguette d'eponge, sur une seule cymbale'
466-8: celesta chords in repeated quavers 702-5: pics (doubling vnl solo) deleted; fls altered to double obs.

73

This content downloaded from

82.49.19.160 on Fri, 11 Dec 2020 14:08:35 UTC
All use subject to https://about.jstor.org/terms