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Updated: June 26, 2025
He has not the clear self-consciousness, the perfect recognition of limits. His music has not the absolute completeness of Debussy's. It is not that he is not a marvelous craftsman, greatly at ease in his medium. It is that Ravel dares, and dares continually; seeks passionately to bring his entire body into play; aspires to plenitude of utterance, to sheerness and rigidity of form.
Or we might say that his substance would have been worthier, if his adoration or contemplation of Nature, which is often a part of it, and which rises to great heights, as is felt for example, in La Mer, had been more the quality of Thoreau's. Debussy's attitude toward Nature seems to have a kind of sensual sensuousness underlying it, while Thoreau's is a kind of spiritual sensuousness.
Debussy's Pelléas et Mélisande, drame lyrique en 5 actes et 12 tableaux, was performed for the first time on any stage at the Opéra-Comique, Paris, April 30, 1902. Its first performance outside of Paris was at the Théâtre de la Monnaie, Brussels, January 9, 1907; its second was at Frankfort, April 19, 1907. Its third will be the coming production at the Manhattan Opera House, New York.
Such natural children with really original remarks and untrained ideas; not artificial Peter Pans who wistfully didn't want to grow up; not slavish little mimics of the Children's stories in vogue, pretending to play at Red Indians when every one knew that Red Indians nowadays dressed like all the other citizens of the United States and Canada and sat in Congress and cultivated political "pulls" or sold patent medicines; or who said "Good hunting" and other Mowgli shibboleths to mystified relations from the mid-nineteenth century country towns; nor children who teased the cat or interfered with the cook or stole jam or did anything else that was obsolete; or decried Sullivan's music in favour of Debussy's or of Scarlatini's 17th century tiraliras; or wore spectacles and had to have their front teeth in gold clamps.
Or is harmonization the important factor? Folk-songs are not harmonized at all, and yet certain musicians, Cecil Sharp for example, devote their lives to collecting them, while others, like Percy Grainger, base their compositions on them. On the other hand such music as Debussy's Iberia depends for its very existence on its beautiful harmonies.
In calling this a "revolutionary" score one is being simply and baldly literal. The radicalism of the music was fully appreciated at the time of the first performances in Paris. To the dissenters, Debussy's musical personages were mere "stammering phantoms," and he was regaled with the age-worn charge of having "ignored melody altogether."
And, certainly, nothing so much reveals Ravel the peer of Debussy as the fact that he has succeeded so beautifully in manifesting what is peculiar to him. For he is by ten years Debussy's junior, and were he less positive an individuality, less original a temperament, less fully the genius, he could never have realized himself.
"Art must be hidden by art," said Rameau, long ago, and this is eminently true in Debussy's music. Debussy composed several works for the stage, one of which was "Martyrdom of Saint Sebastien," but his "Pélleas and Mélisande" is the one supreme achievement in the lyric drama.
However much one may hesitate to subscribe to Debussy's generalities, the final justification for his procedure is in the fact that it is ideally suited to its especial purpose, the tonal utterance of Maeterlinck's rhymeless, metreless, and broken phrases. To have set them in the sustained arioso style of Tristan und Isolde would have been as impossible as it would have been inept.
Emerson is definite in that his art is based on something stronger than the amusing or at its best the beguiling of a few mortals. If he uses a sensuous chord, it is not for sensual ears. His harmonies may float, if the wind blows in that direction, through a voluptuous atmosphere, but he has not Debussy's fondness for trying to blow a sensuous atmosphere from his own voluptuous cheeks.
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