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Updated: June 26, 2025
Dion just caught the sound of her voice, veiled, husky, but very individual and very attractive a voice that could never sing, but that could make of speech a music frail and evanescent as a nocturne of Debussy's. "Daventry's right," thought Dion. "That woman is surely innocent." Mrs.
M. Debussy's Pelléas et Mélisande, in 1902, seemed to mark more truly the emancipation of French music. From this time on, French music felt that it had left school, and claimed to have founded a new art, which reflected the spirit of the race, and was freer and suppler than the Wagnerian art.
More than that, Debussy's harmony is not, as it was with Wagner and all the German school, a fettered harmony, tightly bound to the despotic laws of counterpoint; it is, as Laloy has said, a harmony that is first of all harmonious, and has its origin and end in itself. Some of his analyses are models of clever intuition.
With the production at Paris in the spring of 1902 of Claude Debussy's Pelléas et Mélisande, based on the play of Maeterlinck, the history of music turned a new and surprising page. "It is necessary," declared an acute French critic, M. Jean Marnold, writing shortly after the event, "to go back perhaps to Tristan to find in the opera house an event so important in certain respects for the evolution of musical art." The assertion strikes one to-day, five years after, as, if anything, over-cautious. Pelléas et Mélisande exhibited not simply a new manner of writing opera, but a new kind of music a new way of evolving and combining tones, a new order of harmonic, melodic and rhythmic structure. The style of it was absolutely new and absolutely distinctive: the thing had never been done before, save, in a lesser degree, by Debussy himself in his then little known earlier work. Prior to the appearance of Pelléas et Mélisande, he had put forth, without appreciably disturbing the musical waters, all of the extraordinary and individual music with which his fame is now associated, except the three orchestral "sketches," La Mer (composed in 1903-1905 and published in the latter year), the piano pieces Estampes , and Images, Masques, l'Île joyeuse , and a few songs. Certain audiences in Paris had heard, nine years before, his setting of Rossetti's "Blessed Damozel" (La Demoiselle Élue), a "lyric poem" for two solo voices, female chorus, and orchestra; in the same year his string quartet was played by Ysaÿe and his associates; in 1894 his Prélude
He wondered vaguely what part of Paris he was getting to, but was too happy to care. How beautifully long the hours were in the early morning! At a concert at the Salle Gaveau the day before he had heard Debussy's Nocturnes and Les Sirenes. Rhythms from them were the warp of all his thoughts.
If the tone C is played in the lower octave of the piano, no less than sixteen overtones vibrate with it. A few of these are audible to the ordinary listener, but very keen ears will hear more of them. In Claude Debussy's compositions, his system of harmony and tonality is intimately connected with these laws of natural harmonics.
"Never mind, we'll fix that when we all get back to New York. And now you just sit down at that piano and play me Debussy's 'Arabesque.... I know you love it just as much as I do. But first what's your name?" "Andrews." "Folks come from Virginia?" "Yes." Andrews got to his feet. "Then you're related to the Penneltons." "I may be related to the Kaiser for all I know." "The Penneltons...that's it.
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