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Updated: May 4, 2025
The danse de feu was described long ago in a Bulgarian periodical by one of our best known writers. What you are about to read only confirms his account. How will you explain these hauts faits de l'extase religieuse? I cannot imagine! For my part, I think of the self-mutilations and tortures of Dervishes and Fakirs, and wonder if we have not here something analogous.
The "Poème de l'extase," with its oceanic tides of voluptuously entangled bodies, is a sort of Tannhäuser "Bacchanale" modernized, enlarged, and intensely sharpened. For, in spite of the fact that at moments he handled it with rare sympathy, the orchestra was not his proper medium. The piano was his instrument.
The possession of a similar temperament is doubtless responsible for the little prose poem, "L'Extase," in which Huysmans in his first book, Le Drageloir á Epices, has written an attenuated version of "Strephon and Chloe" to express the disillusionment of love; the lover lies in a wood clasping the hand of the beloved with rapturous emotion; "suddenly she rose, disengaged her hand, disappeared in the bushes, and I heard as it were the rustling of rain on the leaves."
His principal orchestral works are: "Le Poème divine," Opus 43; "Le Poème de l'Extase," Opus 54; and "Prometheus," Opus 60. It is not easy to say which of his many compositions for the pianoforte are the most important. Sonata No. 7, Opus 64; Sonata No. 8, Opus 66; Sonata No. 9, Opus 68; and Sonata No. 10, Opus 70; are perhaps the most magistral.
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