Debussy's Orchestral Collaborations, 1911-13.

1: Le martyre de Saint-Sébastien
Author(s): Robert Orledge
Source: The Musical Times , Dec., 1974, Vol. 115, No. 1582 (Dec., 1974), pp. 1030-
1033+1035
Published by: Musical Times Publications Ltd.

Stable URL: https://www.jstor.org/stable/960380

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 Debussy's Orchestral Collaborations, 1911-13
1: Le martyre de Saint-Sebastien

Robert Orledge

The aim of these articles on Debussy's orchestral in 1911. While the original appeal was for help
collaborations with Caplet and Koechlin is to trace with 'the material aspects of his professional work',
the exact extent of Debussy's participation in the the collaboration developed into something more
orchestration. Apart from the unimaginative chorus important. Ida Rubinstein, in league with
parts in the last act of Le martyre, there can be d'Annunzio, had first approached Roger-Ducasse
no doubt that the music itself was composed solely in November 1910 as composer for Le martyre.
by Debussy, as was the whole of the ballet Khamma, After he regretfully declined,3 d'Annunzio asked
on whicfi a second article will follow shortly. Ida Rubinstein if he 'dared' approach Debussy.
Documentary evidence on the literary, external and She replied that he should do so personally, but as
production aspects of these collaborations is already a precaution also secured an acceptance in principle
fairly complete1 and is only summarized briefly from Florent Schmitt. Debussy appears to have
here in the interests of clarity and perspective. The accepted the commission some time around 7-9
principal approach is from the musical angle, which December 1910 (the letter has not survived).
has so far been treated only in passing. D'Annunzio congratulated him on his decision in a
Debussy met his most important collaborator, telegram dated 10 December, and promptly
Andre Caplet, through G. Jean-Aubry in 1907, the announced the fact in the papers the following day.
year that Caplet organized a concert of Debussy's Letters to Emma Debussy from d'Annunzio and
works in his native Le Havre. Debussy came to the impresario Gabriel Astruc show that much
have great respect for Caplet as composer, musician persuasion on her part proved necessary despite
and conductor, and also as a friend. He recognized the promise of a considerable (and much needed)
his talents immediately, and wrote to Jean-Aubry financial reward.
in January 1908 after hearing two of Caplet's songs So far, Debussy had no knowledge of the text of
for the first time:2 Le martyre; Act 3 ('musically the most important')
This Caplet is an artist. He knows how to capture arrived first, on 9 January 1911, followed by Act 1
a sonorous atmosphere, and with a pleasing on 13 February. The complete five-act poem was
sensibility, a sense of proportion; something not finished until 2 March, just over two and a half
sufficiently rare that one cannot believe it in our months before the date fixed for its premiere at the
times of music which is either haphazard or Theatre du Chatelet (22 May). The score itself
sealed like a cork!
seems to have been written in under three months,
Caplet's similar attraction to Poe, which led to the possibly nearer two. Debussy wrote to d'Annunzio
Conte fantastique (after The Mask of the Red Death) on 29 January that it was 'not without a certain
for chromatic harp and string quartet in 1919, terror that I see the moment approaching when I
probably served to strengthen the tie between the must actually write something',4 and on 14 February,
pair, Caplet being the more practical and industrious perhaps finally prompted to face the task by the
though lacking Debussy's vision and consummate arrival of another act the day before, wrote to
taste. His performances of Debussy's music did Caplet: 'I have very little time to write a great deal
much to consolidate the latter's international
of music-you know how much this pleases me!
reputation, and in his role as amanuensis Debussy So there is not a moment to lose in deciding'.5
had occasion to call him 'le tombeau des fautes', This implies that Debussy was only just beginning
'I'ange des corrections'. Besides Saint-Sebastien, to write his score, if in fact he had begun. In early
Caplet completed the orchestration of Gigues (1912) February he was also occupied with rehearsals for
and La boite a joujoux (1919), orchestrated Pagodesa revival of Pelleas et Mdlisande which took place
and Children's Corner (1910), reorchestrated the on the 18th, and had spent much of January finishing
early song Le jet d'eau (first orchestrated by Debussythe second version of Gigues. From a letter to Durand
in 1907), and arranged Iberia and La mer for two it appears that the last pages of the score may have
and three pianos respectively and Gigues for piano been delivered in April, as he says: 'Here, if you
duet. He also prepared the vocal score for Le agree, is the last appeal of St Sebastian, and I
martyre in 1911, and the four-movement concert confess that I am not displeased with it'. The strain
suite based on Debussy's incidental music in 1912. of forced production was evident, as he added: 'As
It was the time element which compelled Debussy I have told you several times already, I am at the
to call on Caplet's services over Le martyre early end of my tether'.6 St Sebastian's last appeal,
lOn Le martyre see G. Tosi, ed.: Claude Debussy et Gabriele however, comes in Act 4, so the music of Act 5 in
d'Annunzio: correspondance inedite (Paris, 1948) for a full Paradise may well have taken Debussy into May
account of its genesis and fruition. Also E. Lockspeiser:
Debussy: his Life and Mind, ii (London, 1965), 157-67; L.
3see Tosi, op cit, 22; Roger-Ducasse's two letters to d'Annunzio
Vallas: Claude Debussy: his Life and Works (Paris, 1933,
are reproduced on p.114.
Eng. trans M. and G. O'Brien, rev. 1973), 224-34; G. Cohen:
'Gabriele d'Annunzio et Le Martyre de Saint-Sebastien', 4Tosi; op cit., letter 16, 63-4; Debussy himself said the score
Mercure de France, xci/336 (1911), 688-709; ReM (1957), took him only 'two months' (Comoedia, 18 May 1911; see
special number on Le martyre. below).
2quoted in Claude Debussy: Lettres inedites a Andre Caplet 5quoted in Lockspeiser: op cit, 160
(1908-14) (Monaco, 1957), 23 6Lockspeiser: op cit, 164n
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to tie up with Vuillermoz's information in Musiques state of exultation. The mystical subject appealed
d'aujourd'hui7 that Debussy did not appear in the to his innermost aesthetic. In addition, he had
theatre until the day of the first dress rehearsal. his own ideas, which he expounded to me, on the
Debussy's letter to Caplet on 14 February ended Passion mimed by Saint Sebastian; ideas stamped
with a profound originality.14
with the words 'nothing definite for the moment, *
but I think that there will be something interesting
In his excellent section on Le martyre, Lockspeiser
in this matter for you later on', which implies that
rather dauntingly considers it 'unlikely that we shall
Caplet was drawn into the project sometime in late ever be certain of the extent of Caplet's partici-
February or early March 1911. Few letters survive pation in Saint-Sebastien',15 but since he collected
concerning Caplet's collaboration in Le martyre; his material the three incomplete scores (two in the
one, an undated letter from d'Annunzio to Debussy,8 Paris Opera Library, one in the possession of the
suggests that he was not involved until the last
publisher Durand which Lockspeiser did not see)
month of the project. D'Annunzio implies that he have been amalgamated to produce a complete
has only just met Caplet, who nevertheless 'inspired autograph score.16 As he points out, the letters to
in me the warmest sympathy'. This gladdened Caplet in the Sheridan Russell collection 17 un-
Debussy 'infinitely', though he added that he was fortunately contain no relevant information on the
'a little like a conductor who feared a strike!'9
collaboration, and all we have on the musical side
Very few dated letters exist which refer to the are the two tantalizing fragments reproduced in the
composition of Le martyre in any detail, and the same volume with an extract from the autograph
almost complete silence in March bears witness to score.18 The Opera library catalogue attempts an
Debussy's forced labour. We do know however analysis of which parts of their manuscript are by
that he participated in concerts of his music on 5, Caplet and which by Debussy, but the librarians
25 and 29 March, which make the rapid production remain unaware that the score has been reassembled
of the score seem even more incredible.
since Lockspeiser consulted it, and that the auto-
Normally Debussy liked to work on several graphs of Act 1, Act 3 nos. 1 and 6, and Act 5 are
projects simultaneouly, returning to each from time now present. As to the authorship of the rest, their
to time. How rushed he was with Le martyre can conclusions are as follows:
be seen from a comparison with Khamma, a 20- Act 2: Prelude 8: ff. 19 by Caplet, except f.1. 'Tres
minute ballet as opposed to five-act drama with modere' added by Debussy.
music. This was written in just over three months [no.2]: 7 ff. By Debussy except marginal instru-
(late December 1911 to early April 1912). Jeux, mental indications and f. 1 titles.
written and orchestrated at great speed in just over no.3: 10pp. By Caplet; 'vox coelestis' part in a
third hand.
a month (August-September 1912), is much less
than half the length of the music of Le martyre; Act 3: no.2 [lp.]. By Debussy.
no.3: ff.4-6. By Caplet, except f.4.
and Debussy also orchestrated a fair proportion of
no.4: 15 ff. By Caplet, no vocal parts.
Le martyre himself, as we shall see. no.5: ff.16-19. By Caplet, no vocal parts.
Various accounts exist of the composition of no.7: 6pp. By Debussy, except words and
Le martyre. In an interview10 just before the first marginal instrumental indications.
performance Debussy claimed that he 'wrote in Act 4: Prelude. 6ff. By Caplet.
two months a score which in the ordinary way no.2: 4pp. By Debussy except movement title
would have taken me a year'. Inghelhrecht, the and marginal instrumental indications.
chorusmaster under Caplet in 1911, said that no.3: 16pp. By Caplet, except p.1 'modere',
p.3 'poco a poco cresc' (by Debussy). 'Comme
Debussy 'composed day and night, shut up at his
une plainte' perhaps by Debussy.
home, sending off the pages of the score one by Thus of the three almost complete central acts
one to the printer. "I am labouring like a piece- it would appear that the bulk was orchestrated by
worker", he declared, "with never a look back" '. 11
Caplet, with Debussy orchestrating only Act 2
This implies that Debussy was doing everything no.2, Act 3 nos.2 and 7, and Act 4 no.2, as well as
himself, and Emile Vuillermoz, acting as general
adding a few tempo markings and other indications
repetiteur, gives a more likely version: 'The music
when he came to approve Caplet's finished article.
arrived at the theatre page by page, hastily copied Whether Caplet had any part in the 'harmoni-
and corrected in pencil! Debussy remained invisible,
zation of certain passages clearly fixed in [Debussy's]
shut up in his house, writing and revising this work mind' but only 'noted briefly', as Vuillermoz
up to the last minute'.12 suggested at the time of the 1957 Paris Opera revival,
Nevertheless, Debussy's letters to d'Annunzio
cannot be ascertained from the autograph score,
show how much he was inspired by the project, but it is reasonable to assume that the sections in
especially in the early stages,13 and Durand readily Debussy's hand were completely composed and
supported this when he said: orchestrated by him, as he certainly would not have
Debussy was captivated by the subject of Saint- had the time to recopy work already done by Caplet.
Sebastien ... he wrote this marvellous score in a
There are no signs in the autograph score of the
revision of Le martyre for operatic performance
8Tosi: op cit, letter 24, p.72; Tosi suggests April/May 1911 for
7(Paris, 1923), 179 14Quelques souvenirs d'un editeur de musique, 2nd ser. (Paris,
this, but April would seem more likely. 1925), 21-2
9Tosi: op cit, letter 25, p.73; again undated 15op cit, 164
lOwith Rene Bizet, Comoedia (18 May 1911) 160pera Res. 2004
"quoted Lockspeiser: op cit, 164n 17op cit (note 2)
I2op cit, 176 S8between pp.56 and 57
13see Tosi: op cit, letters 16 and 18, pp.63-6 19All folios have blank versos.

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which Debussy planned in 1914. Start marked 'pour le 3 Mai', probably by
The problem lies in the great similarity between Caplet. In no.3, bars 1-5 of the 'vox coelestis'
the handwriting of Debussy and Caplet, and here part are by Caplet, the rest (from 'II est tout clair
sur mes genoux' to the end) are in black ink in a
the clue is given by Lockspeiser when he says that
third hand, possibly that of Mlle F6art, who sang
the third score in the possession of Durand is 'in the part at the premiere, or that of Inghelbrecht
Debussy's hand'.20 The assumption that this or Vuillermoz. Parts of no.3 (especially p.2) show
contained the music missing in the Opera catalogue that Caplet was rushed for time, although only
(Acts 1 and 5) proved to be correct, and a detailed the marginal instrumental lists suffer.
study of the handwriting in the now complete ACT 3: nos.1-5, by Caplet [OS 99-132]; in no.3
score showed that most of Act 1 and the whole of (p.5, bars 4-5) Debussy altered the text of the bass
Act 5 were orchestrated by Debussy. Caplet took part for 'Les Citharedes' from a literal repeat of
over (in pencil) for the last 11 pages of Act 1, and the previous phrase 'Seigneur de Delos et de
orchestrated most of Acts 2-4, with only a few Smirthe' to the more poetic 'Beau roi chevelu de
lumiere'. The original version was reverted to in
minor corrections by Debussy. There was also
OS 106 bars 1-2, although Debussy's amendment
evidence of at least three further hands in the score,
was not erased from the autograph score.
mostly in the vocal parts, but also in the scoring of Further evidence of Caplet's being pressed for
Act 3 no.7 and Act 4 no. 2. These scenes were apparent-
time occurs in no.4, which has no vocal parts and
ly the work of the same third person and are far has identical orchestral passages repeated with
untidier than the rest of the score, making them the abbreviations A and B. Debussy used this
unlikely to be copies of work already completed by device in the opening section of Khamma. No.5
Debussy or Caplet. The writing may possibly be also lacks the 'vox sola' part found in the printed
score.
that of Debussy or Caplet in extreme haste, but
no.6: 6pp., by Caplet and Debussy [OS 133-40].
this is also unlikely as the marginal instrument lists Most of the music is by Caplet, but the instru-
use uncharacteristic abbreviations, the musical mental lists on pp.1-2 were drawn up by Debussy
writing is substantially different, and the evidence with the usual blank stave at the bottom. The
of haste elsewhere in the score is only momentary,string tremolando parts and the corrections to the
never involving a complete movement. harp glissandos (pp.2-3) are almost certainly by
My handwriting study was aided by a prior Debussy, as are the vocal parts from 'Du noir
knowledge of Debussy's autograph scores, particu- Hades, oiu sont les ames' (p.4, fig.3) onwards.
larly the Durand score of Khamma (pp.1-10). In
no.7: 6pp., mostly in a third hand, though some
of the music and the tempo indications could be by
general, Caplet's writing is slightly larger and
Caplet [OS 143-8]. The score is very sketchy,
neater than Debussy's, showing closer attention to written with a much blacker pencil; the orchestral
minute detail, especially in the repetition of key abbreviations, Alti, vcelli etc, were never used
signatures and clefs. Caplet also tended to space by Debussy or Caplet. There are also no abbre-
his instruments to cover the entire page, whereas viations for repeated orchestral material.
Debussy liked to leave blank spaces at the top and ACT 4: no.1: Prelude, 6ff., by Caplet [OS 149-55].
bottom of his, without any between the instru- no.2: 4pp., in the same hand as Act 3 no.7, with
mental groups, which he meticulously bracketed some alterations by Debussy, e.g. strings and
together in a special way. The following shows some horn parts on p.4 and the stage directions on
of the most fundamental differences between the p.1 [OS 156-60].
no.3: 16pp., by Caplet [OS 161-75]. The vocal
two composers' style of instrumental abbreviations:
parts in black ink are in a thin copper-plate hand
Debussy: C Ang; Hb; Cl; VO; VC. different from that used in Act 3 no.7 and Act 4
Caplet: C.a; Htb; Clar; V [violin]; velles. no.2, or in the vocal parts of Act 2 no.3 bar 6f.
This study enabled me to complete and correct Thus at least five people were employed in the
preparation of the 'autograph' score. As the vocal
the Opera catalogue as follows:
parts of Act 2 no.3 were begun by Caplet, it
ACT 1: Prelude and duet (Les Jumeaux) 8ff. in black would appear that the orchestral score was
ink, by Debussy [OS 1-18],21 including the vocal written first with a blank space left for the vocal
parts and the later additions of the second vocal parts to be completed, and not vice versa. Refer-
part on f.7. Some additions by Caplet include the ence is made on Act 4 no.3 p.1 to the copyist
movement title and 'Un peu anim6 qu'au debut M. Colombin; the numbers '8.7.4.4.4.' probably
(f.3), 'poco rit/a tempo' (f.4 bars 1-2). refer to string parts. Again Debussy added
no.2: 5ff. in black ink, by Debussy [OS 19-26]. a few minor corrections and tempo indications.
no.3: 21ff., numbered 21-4222 [OS 27-63]: ACT 5: Complete score by Debussy, except for the
(a) ff. 21-31 in black ink by Debussy plus a few
'Chorus Martyrum' parts in black ink (no.2)
additions by Caplet; (b) ff. 32-42 in pencil by which seem to be in the same hand as the vocal
Caplet23 [double bar and change to six sharps at
parts of Act 2 no.3. In this case alone, the vocal
the words: LE SAINT 'Je danse sur l'ardeur des lys', parts appear to have been prepared first, with
OS 47 bar 4]; some additions by Debussy, e.g. space left for the orchestration [OS 176-202].
'Chorus Seraphicus' (f.3 5) and probably the words
of this part up to the end of Act 1. Besides adding some tempo indications and stage
directions to the sections orchestrated by Caplet
ACT 2: nos.1-3, by Caplet [OS 64-98]; some addi-
tions by Debussy, e.g. 'Tres modere' (no.1, f.3). in Acts 1 to 4, Debussy also made a few changes
in the orchestration. As with Khamma, he obviously
20op cit, 163n surveyed the work of his collaborator in detail but
21OS numbers are from the Durand printed orchestral score in the end changed very little, and then mostly in
(1911), 202pp. the interests of orchestral clarity and contrast.
22Originally ff. 13-34, indicating that an eight-page cut may Towards the end of Act 1 no.3 Debussy cut two
have been made by Debussy.
23The rest of the score is in pencil unless otherwise indicated. bars from Caplet's quiet sustained chord on trum-
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pets and first and second trombones (f.40 bars The second, more important sketch consists of
4-6; OS 60 bars 2-4). He brought them in again the only preserved written suggestion from Debussy
with the entry of the third trombone and tuba andon the orchestration of Le martyre, which may,
a new rising thematic entry on the three harps. This as Lockspeiser proposes, be an 'improvement
harp entry was originally doubled on the violins, Debussy wished to make, possibly after a re-
but Debussy saved their entry until the next double hearsal'.25 It concerns the harp and cymbal parts
bar (f.41 bar 1; OS 61 bar 1) giving a further change at the important changeover point between the Act
of texture after the now more rapid brass and harp 4 Prelude and Act 4 no.2 (OS 155-6) and the nine
climax. preceding bars. It is in fact a list of four suggestions
In Act 2 no.2 (f.2 bar 4f; OS 76 bar If) Caplet to be incorporated into the final version. This
originally had sustained string parts and semi- suggests that Debussy may have worked by post,
quaver arpeggio figuration on the two flutes. in addition to making his own autograph corrections
Debussy reversed these roles putting the flute parts to Caplet's score. The first and fourth directions
on the first violins (divisi a 6), and doubled the viola
refer to the point nine bars before the end of the
tenor part on english horn in the process; this gave Prelude (three bars before fig.3, OS 154). The first:
the music a more sonorous sheen at the words 'Les sons d'echo plus marqu6 dans [les] dernieres
'mon ame, sous le ciel clement'. In the Act 4 Prelude mesures' resulted in Caplet adding 'un peu marque'
(p.4 bar 3f; OS 153 bar 3f) Debussy rearranged to the second of his first horn echoes, although the
Caplet's scoring for divided tremolando strings fourth direction: 'Harpes 8ves-3 mesures avant
(viola, cello, bass) to eliminate the violas and so [fig.] 3', seems to have been ignored. Perhaps
produce a darker sound. Caplet's doubling of the Debussy revoked his decision to add the second
first violin harmonics on piccolos at this point was harp in octaves to double the first, and even the first
not altered by Debussy, but was nevertheless omitted harp is left with single low notes in the final score
from the printed score; it seems that Debussy made at this point.
further revisions to Caplet's work not included in The second and third directions for harp and
the autograph manuscript. cymbal concern the end of the Prelude, which was
The two sketches in the Sheridan Russell collec- followed by a pause and then Act 4 no.2. Ex.la
tion consist firstly of a sketch for the vocal score of
shows the original orchestration by Caplet, giving
Le martyre prepared by Caplet,24 probably a passage only the relevant parts. The harp was originally
on which Debussy was asked for advice. Debussy's doubled in the two final bars, and the final chord
version of the four bars was signed and under- came on the second beat of the bar. First this
written in Latin 'Hoc varietur' ('this may be chord was changed to a single harp (by Debussy ?),
changed'). It is hardly likely that Caplet was then in the printed version (ex. lb) the whole passage
requesting Debussy's permission to alter this passage was put on first harp only. As far as the cymbal
as so much was left to his discretion where the part is concerned, the autograph score is less clear;
preparation of arrangements was concerned. Also it appears originally to have stopped two bars
the passage in question remained almost unaltered before the end of the Prelude, with the trill marking
in the printed vocal score (end of Act 2 no.3, p.45 extended to its final minim in another hand (per-
bar 12 to p.46 bar 2), and Caplet simply 'changed' haps Debussy's). Debussy's letter shows that he
Debussy's reduction from three to two staves and still intended the final note to be a minim only,
made it more pianistic in the process. although in ex.1b from the printed score it was
24Durand (1911), 104 pp. 25op cit, 163

Ex. 1 a Opera Res. 2004 Act 4 Prelude, p.6 bar 3f. b Durand printed score, p. ISS last 3 bars
a2

Hp. - * _ Hp. IP 9

Cymbal o Cymb. ° f s _ o
IPP] pp
/ (Str. ppp, muted) (Str. ppp, muted)

Vc. vc. c

4-9 ^M -®- ^(7 .^T

CB 3- ~ -

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converted into a semibreve. The mark in ex. la during this crucial section, and what did happen
above the final note may mean that a separate (Sebastian's funeral procession), happened too
cymbal stroke was contemplated at some stage, quickly. He thought the cortege should begin later,
perhaps before the letter was written. Caplet retained and after pausing at the moment when the light
the semibreve when he prepared the 'Fragments burst forth (OS 179), should continue into the
symphoniques' from Le martyre for concert per- unaccompanied chorus in Act 5 no.2 (for which
formance,26 extending the double bass tremolandos there were no stage directions).29 Part of this
and further modifying the harp part in the final strongly worded letter, which even suggests 'sup-
bar of the Prelude to lead continuously into Act 4 pressing the Paradise section' altogether, and com-
no.2. He also marked the cymbal part in this bar plains of the poor lighting and the 'impolite'
'baguette'. Ex.la also shows a further modification actors' entries during the orchestral preludes,
definitely by Debussy (included in square brackets), suggests that the problems involved in this hurried
who extended the lower cello tremolando by a production were pretty basic.
further minim in the penultimate bar of the Prelude.Probably to improve the continuity and splendour
This modification was ignored in the printed score.of the premiere, Caplet made some further orchestral
There are other instances of Debussy's autograph additions to the score of Saint-Sebastien which are
corrections being ignored, for example in the bar preserved in his printed conducting copy in the
before fig.5 in Act 4 no.3, where Debussy clearly Paris Opera Library.30 As well as doubling various
indicated that the oboes and bassoons were to be brass parts near the end of Act 1 (OS 61-3) and in
lowered by an octave. They survive at Caplet's the fanfares at the start of Act 3 (OS 99-103),
original high pitch in the printed score (OS 167). he also added a part for full organ to double the
*
antiphonal answers in the orchestra to the chorus
parts in Act 5 no.2 (OS 190f). This only enhances
It was rumoured after the premiere of Le martyre the artificial grandeur of the final pages, and is in
that the final chorus in Paradise (Act 5 no.2), complete contrast to the subtle harmonium part
generally judged the weakest by both audience and used by Debussy in the same scene. The two appear
critics, was not by Debussy. A dispatch from Paris side by side around fig.7 (OS 191) and, whatever
to the Italian journal // tirso suggested that it was the practical reasons involved, the difference in
composed by 'one of his most faithful disciples',27 musical taste between Caplet's huge organ chords
that is, Caplet. Certainly its staid homophonic and Debussy's quiet harmonium, playing high
texture is at odds with the flexible choral style of ethereal 2nds in the wings, is marked indeed.
the remainder of Le martyre, and is less inspired It is odd that Debussy should have orchestrated
than Debussy's only later choral pieces, the Trois the final act of Le martyre himself when he was so
chansons de Charles d'Orleans (1908). It is also less pressed for time. Perhaps his beautifully detailed
imaginative than the florid 'Anima Sebastiani' scoring was an attempt to conceal a mundane
part which separates the ecclesiastical sections in choral part that he had no time to rethink. The
the early part of the scene (OS 184f). All the interest remainder of this restrained but inaccessible score
in the final act lies in the superbly detailed and betrays few signs of haste or over-obviousness in
subtle orchestral part which is wholly by Debussy, its conception. Its veiled mysticism and Parsifal-
and it is difficult to believe that the whole scene was like qualities have often been commented on,31
not written and orchestrated by the same person and Debussy himself was finally confident about
when confronted with the subtle change from A flat his ending. He thought he had created:
major through an incomplete 7th chord on B to C decorative music . . . the illustrations in timbres
sharp minor (OS 195). It is really only the opening and rhythms of a noble text, and when, in the
a cappella choral section of no.2 in A flat which can final act, the Saint ascends to Paradise, I think I
be in doubt (OS 180-84). The orchestra enters as realized all that I felt, experienced in this con-
the 'Chorus Angelorum' reach a held chord of ception of the Ascension. Have I succeeded?
That does not worry me any more. We no longer
D flat (6 bars after fig.4, OS 184), the two harps
possess the spirit of faith of old. The faith that my
creeping in with a magical dominant seventh (Cb), music expresses, is it orthodox or not? I ignore
soon to be joined by high muted divided strings this. It is mine alone, mine which sings forth in
and fluttering woodwind preparing the entry of the complete confidence.32
'Anima Sebastiani', 'Je viens, je monte'. The 29Bibliotheque Nationale, La Debussy (Cl) 54
remaining chorus sections, especially the final 30A742a, the 'modifications' Caplet intended to make are also
listed on the cover.
Alleluias (OS 201-2), are relatively pedestrian, but
31Vuillermoz, op cit, 182
after the orchestra enters this aspect seems far less 32Comoedia (18 May 1911)
obvious.
Just as d'Annunzio had found the Paradise scene
'a problem' as early as February 1911,28 so Debussy's
most clearly expressed written worries involved this
act. He complained to the theatre director Gabriel A Rakhmaninov Museum was opened in September in Ivanocka,
near Tambov, central Russia; it is housed in a building on the
Astruc, probably early in May after attending the estate once owned by Rakhmaninov's parents-in-law, where
first dress rehearsal, of the bad coordination between he wrote several of his major works.
the action and the music, particularly from Act 4 A Richard Tauber Memorial Showcase has been placed in the
amphitheatre promenade at the Royal Opera House.
no.3 to the end. Too little was happening on stage
26Durand (1912), pp.68-9 The two music examples in Neal Zaslaw's article 'The Enigma
of the Haute-Contre' (Nov MT, p.939) were transposed, after
274 June 1911; quoted in Lockspeiser: op cit, 164 the proof stage; our printers apologize to Mr Zaslaw and to
28Tosi: op cit, letter 19bis, p.69 (to Astruc), 14 Feb 1911 readers.

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