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Jean-Christophe Branger, Sylvie Douche and Denis Herlin, eds, Pelléas et Mélisande cent and après: études et documents (Lyon: Symétrie, 2012). 609 pp. 64.00 €.

Published online by Cambridge University Press:  04 August 2016

Matthew Brown
Matthew Brown*
Affiliation:
Eastman School of Musicmbrown@esm.rochester.edu
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Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 13 , Issue 2 , December 2016 , pp. 289 - 298
Copyright
© Cambridge University Press 2016 

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References

1 In 1913, Debussy suggested that opera composers should think cinematically rather than symphonically: ‘It is film – the Ariadne’s thread – that will show us the way out of this disquieting labyrinth’; Debussy, ‘Concerts Colonne’, SIM (1 November 1913), in Claude Debussy, Monsieur Croche et autres écrits, ed. François Lesure (Paris: Gallimard, 1987): 248, and Debussy on Music, ed. François Lesure and trans. Richard Langham Smith (New York: Knopf, 1977): 298.

2 Part 1. De la gènese aux premières representations. Smith, Richard Langham, ‘D’un opéra à l’autre: de Rodrigue et Pelléas’, 17–40 Google Scholar; Herlin, Denis, ‘Pelléas et Mélisande aux Bouffes-Parisiens’, 41–57 Google Scholar; Giroud, Vincent, ‘Le manuscript Koch de Pelléas et Mélisande’, 59–76 Google Scholar; Grayson, David, ‘L’édition scientifique de Pelléas et Mélisande’, 77–87 Google Scholar; Nichols, Roger, ‘“En secouant la poussière”: la mise en scène d’Albert Carré’, 89–110 Google Scholar.

3 See also Smith, Richard Langham, Debussy: Rodrigue et Chimènes, Œuvres lyriques, Œuvres Complètes de Claude Debussy Sér. 6 Vol. 2 (Paris: Durand-Costallat, 2010)Google Scholar.

4 See Carlson, Marvin, Theories of the Theatre. A Historical and Critical Survey, from the Greeks to the Present (Ithaca, N.Y.: Cornell University Press, 1984): 290ffGoogle Scholar.; Catalogues d’Exposition, Collectif, Cahn, Isabelle, direction, Le théâtre de l’Œuvre 1893–1900. Naissance du théâtre moderne (Paris: 5 continents/Musée d’Orsay, 2005)Google Scholar; Rischbieter, Henning ed., Art and the Stage in the 20th Century. Painters and Sculptors Work for the Theater (Greenwich, CT: New York Graphic Society, 1968): 16–25 Google Scholar.

5 See Brown, Matthew, ‘On the literary origins of Maeterlinck’s Pelléas et Mélisande’, Cahiers Debussy, in press Google Scholar.

6 See Halls, Maurice Maeterlinck, 23, 24, 27.

7 Giroud, Vincent, curator of modern books and manuscripts at the Beinecke Library, prepared the exhibition From Heinrich Schütz to Henry Miller: Selections from the Frederick R. Koch Collection at the Beinecke Library (New Haven, CT: Beinecke Rare Book & Manuscript Library, 2001)Google Scholar.

8 Grayson, David ed., Debussy: Pelléas et Mélisande, Œuvres lyriques, Œuvres Complètes de Claude Debussy Sér. 6, Vol. 2 (Paris: Durand-Costallat, 2010)Google Scholar.

9 Part 2. Réceptions et premières etudes. Kelly, Barbara L., ‘Originalité et tradition: Pelléas et la bataille pout musique Français (1902–1920)’, 113–124 Google Scholar; Suchowiejko, Renata, ‘La claret latine: Pelléas et Mélisande et les compositeurs polonaise’, 125–134 Google Scholar; Douche, Sylvie, ‘La première etude monographique consacrée à Pelléas et Mélisande: Maurice Emmanuel en 1926’, 135–163 Google Scholar.

10 Guiraud, Ernest, Traité Pratique d’Instrumentation (Paris: Durand, ca. 1891)Google Scholar; Busser, Henri, Traité Pratique d’Instrumentation par Ernest Guiraud (Paris: Durand, 1933)Google Scholar; and Clevenger, John, ‘Debussy’s Paris Conservatoire Training’, in Jane F. Fulcher ed., Debussy and His World (Princeton: Princeton University Press, 2001): 299–361 Google Scholar.

11 Part 3. Esthétique et analyse. Bailbé, Joseph-Marc, ‘Le symbolism de la chevelure de Rodenbach à Maeterlinck’, 167–175 Google Scholar; Branger, Jean-Christophe, ‘La Rêve d’Alfred Bruneau: un opéra pré-debussyste?’, 177–194 Google Scholar; Goubault, Christian, ‘La geste compositionnel debussyste’, 195–213 Google Scholar; Labussière, Annie, ‘La mélodie dramatique dans Pelléas et Mélisande: structure et fonctionnement’, 215–229 Google Scholar.

12 For an interesting overview, see Synnott, Anthony, ‘Shame and Glory: a Sociology of Hair’, The British Journal of Sociology 38/3 (1987): 381–413 CrossRefGoogle Scholar.

13 There are also biographical avenues to explore, especially given the personal ties between Maeterlinck, Rodenbach, Villiers de L’Isle Adam and Mallarmé, see Halls, W. D., Maurice Maeterlinck. A Study of his Life and Thought (Westport, CT: Greenwood, 1960): 16–22 Google Scholar and 48.

14 Vest, James M., The French Face of Ophelia: From Belleforest to Baudelaire (New York: University Press of America; 1989)Google Scholar; and Mosley, Philip, ‘The Soul’s Interior Spectacle: Rodenbach and Bruges-la-Morte ’, in Georges Rodenbach: Critical Essays, ed. Philip Mosley (Madison, NJ: Fairleigh Dickinson University Press, 1996): 17–40 Google Scholar, esp. 35ff.

15 For a feminist response, see Showalter, Elaine, ‘Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism’, in Shakespeare and the Question of Theory, ed. Patricia Parker and Geoffrey Hartman (New York and London: Routledge, 1985): 77–94 Google Scholar.

16 Abbate, Carolyn, ‘ Tristan in the Composition of Pelléas ’, 19th-Century Music 5/2 (1981): 117–141 CrossRefGoogle Scholar; Rolf, Marie, ‘Symbolism as Structural Agent in Act 4, Scene 4 of Debussy’s Pelléas et Mélisande ’, in Berlioz and Debussy: Sources, Contexts, and Legacies, ed. Barbara L. Kelly and Kerry Murphy (Aldershot: Ashgate, 2007): 117–148 Google Scholar. For a more recent discussion of the scene, see Brown, Matthew, ‘Pelléas, Mélisande, le grotesque et l’Arabesque’, Regards sur Debussy, ed. Myriam Chimènes and Alexandra Laederich (Paris: Fayard, 2013): 137–150 Google Scholar.

17 Part 4. Postérité. Caillet, Aude, ‘Un ‘pelléastre’ paradoxal: Charles Koechlin’, 233–246 Google Scholar; Föllmi, Beate A., ‘L’influence de Debussy sur Schoenberg’, 247–256 Google Scholar; Barthel-Calvet, Anne-Sylvie, ‘La Pelléas et Mélisande Symphonie de Marius Constant: hommage en forme d’arrangement ou éclairage d’un sens cache du Pelléas de Debussy?’, 257–276 Google Scholar.

18 Koechlin, Charles, ‘ Pelléas et Mélisande: étude inedited présentée et établie par Aude Caillet’, Cahiers Debussy 27/28 (2003–2004): 3–123 Google Scholar.

19 Schoenberg, Arnold, Structural Functions of Harmony, ed. Leonard Stein (London: Faber, 1969): 102 Google Scholar (Ex. 110) and 193.

20 Similar arrangements have been made by Sir John Barbirolli, Pierre Monteux, Eric Leinsdorf and Claudio Abbado, see Grayson, David, ‘Liner notes’, Claude Debussy: Pelléas et Mélisande, Berlin Philharmonic, conducted by Claudio Abbado (DG: 289 471 332–2, 2001), 4 Google Scholar.

21 Debussy, Correspondance, 325–26; Letters, 87.

22 Appendices: I Douche, Sylvie, ‘Transcription littérale du carnet de notes de Maurice Emmanuel au sujet de échanges Debussy-Guiraud (1889–1890)’, 279–287 Google Scholar; II Herlin, Denis, ‘Chronologie (1893–1902)’, 289–313 Google Scholar; III Herlin, Denis, ‘Liste des representations de Pelléas et Mélisande à l’Opéra-Comique du vivant de Debussy’, 315–320 Google Scholar; IV Herlin, Denis, ‘Liste des representations de Pelléas et Mélisande en France (excepté Parts) à l’étranger du vivant de Debussy’, 321–329 Google Scholar.

23 Smith, Richard Langham, ‘The Play and its Playwright’, in Pelléas et Mélisande, Cambridge Opera Handbooks, ed. Roger Nichols and Richard Langham Smith (Cambridge: Cambridge University Press, 1989): 1–29 Google Scholar.

24 Brown, ‘On the Literary Origins of Maeterlinck’s Pelléas et Mélisande’, in press.

25 Mahony, Patrick, Maurice Maeterlinck. Mystic and Dramatist (Washington, DC: The Institute for the Study of Man, 1929): 77 Google Scholar. See Payne, John trans., The Novels of Matteo Bandello, Bishop of Agen, 6 vols (London: The Villon Society, 1890)Google Scholar.

26 See Holloway, Robin, Debussy and Wagner (London: Eulenberg, 1979): 60–135 Google Scholar; Abbate, ‘Tristan in the Composition of Pelléas’, and Smith, Richard Langham, ‘Debussy and the Cinema’, Music and Letters 54/1 (1973): 61–70 CrossRefGoogle Scholar.

27 Smith, Richard Langham, ‘Motives and Symbols’, in Pelléas et Mélisande, ed. Nichols and Langham Smith, 95–96 Google Scholar.

28 Boulez, Pierre, ‘Si vous prenez les Nocturnes, ils sont très proches du style de Pelléas, tout comme certaine passages de La Mer, par exemple le soleil à midi (1er mouvement) et la sortie des souterrains (acte III, scène 3)’. [1]Google Scholar

29 See Smith, Richard Langham, ‘Debussy and the Cinema’, Music and Letters 54/1 (1973): 61–70 CrossRefGoogle Scholar.

30 Grayson, David, ‘Waiting for Golaud: The Concept of Time in Pelléas et Mélisande ’, in Debussy Studies, ed. Richard Langham Smith (Cambridge: Cambridge University Press, 1997): 29–30 Google Scholar.

31 Bartalini, Gualtiero, Opera Psychotherapy (Smithtown, NY: Exposition Press, 1981)Google Scholar and Russell, P. Craig, Pelléas et Mélisande (Guerneville, CA.: Eclipse Comics, 1985)Google Scholar.

32 See Brown, Matthew, Debussy Redux: The Impact of His Music on Popular Culture (Bloomington, IN: Indiana University Press, 2012)Google Scholar.