Debussy's Letters to Inghelbrecht: The Story of a Musical Friendship (Eastman Studies in Music)

Debussy’s Letters to Inghelbrecht Eastman Studies in Music Ralph P. Locke, Senior Editor Eastman School of Music (ISS...

Author: Margaret G. Cobb (Editor)

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Debussy’s Letters to Inghelbrecht

Eastman Studies in Music Ralph P. Locke, Senior Editor Eastman School of Music (ISSN 1071–9989)

Additional titles in Music of the Nineteenth and Twentieth Centuries Analyzing Wagner’s Operas: Alfred Lorenz and German Nationalist Ideology Stephen McClatchie Berlioz: Past, Present, Future Edited by Peter Bloom Berlioz’s Semi-Operas: Roméo et Juliette and La damnation de Faust Daniel Albright Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies Edited by Elizabeth West Marvin and Richard Hermann Elliott Carter: Collected Essays and Lectures, 1937–1995 Edited by Jonathan W. Bernard French Organ Music from the Revolution to Franck and Widor Edited by Lawrence Archbold and William J. Peterson Historical Musicology: Sources, Methods, Interpretations Edited by Stephen A. Crist and Roberta Montemorra Marvin Music and the Occult: French Musical Philosophies, 1750–1950 Joscelyn Godwin The Music of Luigi Dallapiccola Raymond Fearn

Music Theory in Concept and Practice Edited by James M. Baker, David W. Beach, and Jonathan W. Bernard The Musical Madhouse (Les Grotesques de la musique) Hector Berlioz Translated and edited by Alastair Bruce Introduction by Hugh Macdonald Music’s Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac Sylvia Kahan The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology Edited by Arved Ashby The Poetic Debussy: A Collection of His Song Texts and Selected Letters (Revised Second Edition) Edited by Margaret G. Cobb Portrait of Percy Grainger Malcolm Gillies and David Pear Schumann’s Piano Cycles and the Novels of Jean Paul Erika Reiman The Sea on Fire: Jean Barraqué Paul Griffiths “Wanderjahre of a Revolutionist” and Other Essays on American Music Arthur Farwell, edited by Thomas Stoner

A complete list of titles in the Eastman Studies in Music Series, in order of publication, may be found at the end of this book.

Debussy’s letter to Inghelbrecht, 17 November 1913.

Debussy’s Letters to Inghelbrecht The Story of a Musical Friendship

Annotated by MARGARET G. COBB Translations by RICHARD MILLER

UNIVERSITY OF ROCHESTER PRESS

Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. To view these images please refer to the printed version of this book.

Copyright © 2005 Margaret G. Cobb Translations Copyright © 2005 Richard Miller All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2005 University of Rochester Press 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.urpress.com and of Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com ISBN: 1–58046–174–3 Library of Congress Cataloging-in-Publication Data Debussy, Claude, 1862–1918. [Correspondence. Selections] Debussy’s letters to Inghelbrecht : the story of a musical friendship / annotated by Margaret G. Cobb ; translations by Richard Miller. p. cm. – (Eastman studies in music, ISSN 1071–9989 ; v. 30) Includes bibliographical references and index. Discography: p. ISBN 1–58046–174–3 (hardcover : alk. paper) 1. Debussy, Claude, 1862–1918–Correspondence. 2. Inghelbrecht, D. E. (Désiré Emile), 1880–1965–Correspondence. 3. Composers–France–Correspondence. 4. Conductors (Music)–France–Correspondence. I. Inghelbrecht, D. E. (Désiré Emile), 1880–1965. II. Cobb, Margaret G. III. Title. IV. Series. ML410.D28A42 2005 780'.92–dc22 2004029315 A catalogue record for this title is available from the British Library

This publication is printed on acid-free paper Printed in the United States of America

In memory of Mme D. E. Inghelbrecht

Contents List of Letters List of Illustrations

xi xiii

Preface

xv

Acknowledgments

xxi

D. E. Inghelbrecht: A Biography

1

Letters from Debussy to Inghelbrecht

9

Appendix A: Letter from Inghelbrecht to Debussy

93

Appendix B: Letters from Inghelbrecht to d’Annunzio

101

Appendix C: Letters from Chouchou Debussy to Inghelbrecht

109

Biographies

115

Bibliography

121

Discography

125

Index

129

Letters Letters from Debussy to Inghelbrecht Letter I Paris, 22 May 1912 Letter II Paris, 2 June 1912 Letter III Paris, 5 June 1912 Letter IV Paris, 12 June 1912 Pneumatique Letter V Paris, 12 June 1912 Pneumatique Letter VI Paris, 15 June 1912 Letter VII Paris, 15 June 1913 Letter VIII Paris, 15 September 1913 Letter IX Paris, 30 September 1913 Letter X Paris, 10 October 1913 Pneumatique Letter XI Paris, 9 November 1913 Letter XII Paris, 17 November 1913 Letter XIII Paris, 19 November 1913 Postcard I Hannover, 16 December 1913 Letter XIV Paris, 18 January 1914 Letter XV Paris, 24 February 1914 Pneumatique Letter XVI Paris, 18 August 1914 Letter XVII Paris, 10 January 1914 Pneumatique Letter XVIII Paris, 26 March 1915 Pneumatique Letter XIX Paris, 3 June 1915 Letter XX Paris, 23 June 1915 Letter XXI Pourville, 28 July 1915 Postcard II Pourville, 26 August 1915 Letter XXII Pourville, 20 September 1915 Letter XXIII Pourville, 9 October 1915 Letter XXIV Paris, 1 February 1916 Letter XXV Paris, 27 July 1916 Letter XXVI Paris, 10 September 1916 Postcard III Arcachon, 15 September 1916 Postcard IV Arcachon, 21 September 1916 Letter XXVII St Jean de Luz [July 1917]

10 14 16 18 20 22 24 28 32 34 36 40 42 44 46 48 50 54 58 60 64 68 72 74 78 80 82 84 86 88 90

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Appendix A Letter from Inghelbrecht to Debussy Paris, 30 August 1917

96

Appendix B Letters from Inghelbrecht to d’Annunzio Letter I [Paris], 2 June 1912 Letter II [Paris], 11 June 1912

104 106

Appendix C Letters from Chouchou Debussy to Inghelbrecht Letter I Paris, 26 May 1913 Letter II Paris, 19 January 1914

110 112

Illustrations Debussy’s letter to Inghelbrecht, 17 November 1913 Frontispiece

After page 92: Figure 1. Claude Debussy in 1909 2. D. E. Inghelbrecht, ca. 1908 3. Program for Le Martyre de Saint Sébastien, 21 May 1911 4. Inghelbrecht rehearsing with Ninon Vallin for her role in Le Martyre de Saint Sébastien 5. Inghelbrecht conducts in 1913 6. Debussy’s letter to Inghelbrecht, 24 February 1914 7. The artist Théophile Alexandre Steinlen, ca. 1920 8. Steinlen’s drawing of Debussy for Inghelbrecht’s concert of 31 January 1913 9. Emmanuel Chabrier, 1882 10. Opening bars of Chabrier’s La Sulamite and Debussy’s La Damoiselle élue 11. Modest Musorgsky, ca. 1875 12. Title page of Musorgsky’s Nursery 13. Title page of Debussy’s Children’s Corner 14. Title page of Inghelbrecht’s La Nursery 15. Inghelbrecht conducts the Orchestre Nationale 1939

Preface The story of how I came to write this book and own these letters from Debussy to Inghelbrecht is the result of three chance encounters I had in Paris. The first came in 1925, when I spent the winter in school in Paris. There I had piano lessons with Henri Etlin, who, I later learned, had won a Premier Prix at the Conservatoire in 1907. He began my lessons with the usual Czerny et al. compositions and then started me on some of the Debussy Préludes. I liked these so much that I asked to study only Debussy that whole winter. He agreed and seemed quite happy at my request. On returning home, I continued my piano lessons with a Russian teacher who encouraged me to work on Debussy. Then came marriage, two children, and a job as freelance copy-editor for a large publishing house, a position I held for thirty-two years. There was then no longer time for piano lessons. During my last five years of copy-editing, while working on a medical dictionary, I began to think that I would like to write a book myself. As my interest in Debussy had never waned, and I had learned about him and his music, especially his songs, I thought that this was an area that I could explore. I had always been interested in French poetry, so here was my link to Debussy. Therefore, I decided that I would go to Paris for my annual vacations and do some work on Debussy and his songs. My first trip to Paris for this project was in 1967. I started my work in the Music Department of the Bibliothèque nationale de France, 2 rue Louvois. There I met François Lesure, who was the head of that department and was soon to become well known as a Debussy specialist. He helped me in my work and also encouraged me in my project of a possible book. I was also able to work in the beautiful reading room of the Bibliothèque nationale de France, 58 rue de Richelieu. There I found the editions of the books of poems that Debussy

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would have used and noted the changes he sometimes made in the texts of his early songs. One day in late October 1968, when leaving the Music Department, I walked out with a woman who had also been working there. Paris was cold and damp that day, and I had a long way to go to my hotel on the rue Cambon. As we both started along the rue des Petits-Champs, I asked her if she would like to join me and have some tea at a nearby little bistro. She agreed, and over tea we each talked about the work we were doing. She told me that she was hoping to revive the weekly radio talks Entretiens autour d’un piano that she and her late husband, D. E. Inghelbrecht, and three musician friends had given over the last several years. I was familiar with the name Inghelbrecht because of his many Debussy recordings that I owned. It soon became evident that we had a real interest in common, and I continued to see Mme Inghelbrecht on my subsequent visits to Paris. Soon after I came home from a trip to Paris in 1971, I received a telephone call from François Lesure saying that he was in New York and wanted to see me. When we met, he asked me if I would like to go to Paris and stay there for four years in order to establish a Centre de Documentation Claude Debussy in Saint-Germain-en-Laye, Debussy’s birthplace. I was truly taken aback by such a proposal. Thinking quickly, I realized that my present job would soon be finished and maybe this was the time to do something different and take on the interesting challenge that was being offered me. We agreed that I would leave for Paris in late January 1972 and would then return to New York in June 1976. During that first year in Paris, my initial task was to acquire material for the Centre. First, I wrote to publishers of books, music, and recordings in Europe, the United States, Canada, and Japan, asking them to contribute their Debussy publications. Then came the search for the location of known Debussy manuscripts and the request for copies. The response I got was very encouraging, and material in all fields soon came in. Then I sent out the first issue of the Cahiers Debussy of 1974, which was to become the annual publication of the Centre. This first issue of the Cahiers was sent to forty periodicals. All this was certainly responsible for the visitors from forty countries that I welcomed at the Centre during my four years there.

PREFACE

xvii

While working at the Centre, I still had enough time to accept Lesure’s offer that I complete a Debussy discography that Henri Borgeaud, a Debussy scholar, had been unable to finish. I was very glad to have such a job. First, I would learn a lot about Debussy’s early recordings, and second, it would become my first Debussy publication. Thus in 1975, my discography was published: Discographie de l’oeuvre de Claude Debussy, 1902–1950. Needless to say, I was glad to see my friend Mme Inghelbrecht and tell her all about the job that I had taken. With her I met musicians who had worked with her husband. Right away one felt the loyalty and affection they had for their leader and for his faithful companion. Over the years, I learned that Mme Inghelbrecht was born in Ouchy, part of Lausanne on the Lake of Geneva. As a child she had always wanted to cross that lake and go to France. Finally, the time came in 1919 when she left for Paris with her friend Marguerite Steinlen, the artist’s niece, to make her living there. When I knew Mme Inghelbrecht, she had no close relatives; on her husband’s side there were only some nieces whom she saw rarely, if ever. As the years went by, she seemed anxious to find a home for some of the treasures that she had inherited from her husband. She first told me that she would like to sell the manuscript of Chabrier’s La Sulamite. It was the first version of this work, dated 1884, and in very good condition. I had no trouble finding a home for it. When I spoke to Rigbie Turner at The Morgan Library in New York, he said the library would be only too glad to buy it. Mme Inghelbrecht next told me that she had inherited from her friend Colette Steinlen, the artist’s daughter, a small oil painting of roses by Renoir, which bears the dedication: “petit souvenir / à / Mlle Steinlen / Renoir.” She kept it in a safe and never hung it up. Now she wanted to sell it. I was only too happy to buy it. Besides being a beautiful painting, it has an interesting provenance. Next she gave me her husband’s bound score of La Mer that is full of his notations and bears the dedication: “pour D. E. Inghelbrecht (solo) son dévoué Claude Debussy / Octobre 1913.” Lastly, as my four years in Paris were coming to an end, Mme Inghelbrecht handed me a small bundle tied up with a silk ribbon: here were twenty-four letters and four postcards

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from Debussy to Inghelbrecht, dating from 1912 to 1917! I was truly overwhelmed and hardly knew how to thank her. These letters tell the story of Debussy’s friendship with Inghelbrecht, the young conductor twenty-two years his junior, with whom he first worked in 1911 for the first performance of Le Martyre de Saint Sébastien. In addition to these letters from Debussy to Inghelbrecht, three letters by Inghelbrecht have been included in this book. In Appendix A is Inghelbrecht’s long letter of 30 August 1917 in answer to Debussy’s last letter to him of July 1917. In Appendix B are two letters by Inghelbrecht to Gabriele d’Annunzio inviting him to the rehearsals and performances of his short form of Le Martyre de Saint Sébastien for orchestra alone. These letters are dated 2 and 11 June 1912. In Appendix C are two letters from Chouchou Debussy to Inghelbrecht. These letters are dated 26 May 1913 and 19 January 1914. When I returned home in 1976 after those four years in Paris, I continued to go back each year and always visited Mme Inghelbrecht. In 1978, she gave me a copy of the book that she had just published, D. E. Inghelbrecht et son temps, and also a small plaster-of-Paris head of her husband that had been done by Carina Ari, Inghelbrecht’s former wife, with whom my friend had always been on friendly terms. The last time I saw her was in 1982, when she was in a retirement home in Neuilly, where she died peacefully in 1984. Now my first job was to finish the book that I had been working on for so long, Finally, The Poetic Debussy was published in 1982. Then came A Portrait of Claude Debussy, a book that William Ashbrook and I had translated and edited from La Passion de Claude Debussy by Marcel Dietschy. This was published in 1990. The revised second edition of The Poetic Debussy appeared in 1994. During the years 1977 to 2001, I contributed an annual discography to the Cahiers Debussy. While doing this work, I noticed that reissues of Inghelbrecht’s recordings were beginning to appear. As well as his Debussy recordings were those he made of works of other composers and also even older ones of his own compositions. This renewed interest in Inghelbrecht seemed like the ideal time to publish the letters to Inghelbrecht that his wife had given me. Little had been written about Debussy’s friendship with Inghelbrecht, a friendship that was truly vital to the

PREFACE

xix

young conductor and would influence his performances as conductor for the rest of his life. We know that it was their mutual love of music that first brought them together. As a British music critic wrote of Inghelbrecht: “As a friend and lifelong champion of Debussy, he probably brings us nearer to the composer than any other conductor.”1 No one has written better about Inghelbrecht’s relationship with Debussy than his wife Germaine: For Inghel, Debussy was the great artist to whom he had the rare chance of being close, with whom he felt a true communion of tastes. From the letters he received from him, we get a keen sense of affection. Debussy, a solitary figure . . . needed friendship. . . . His letters to Inghel, most of which were written during the vacations that took him away from Paris, reveal the spontaneous and lively enthusiasm with which he addressed all the things that he enjoyed. He was fond of the young musician who understood his personality and his great works. Throughout his life, Inghel was to feel the influence of Steinlen, “his good beloved father,” and of Debussy. For him, they were beacons, guideposts. And he had the deep joy of being able, up until his last days, to bring to life—with passion, with all his talent—the works of a man who had been for a few years his friend.2

1

Alan Sanders, Liner notes in CD Testament SBT 1212. Germaine Inghelbrecht, D. E. Inghelbrecht et son temps (Neuchâtel: Éditions de la Baconnière, 1978), 81. 2

Pour Inghel, Debussy fut le grand artiste qu’il eut la chance très rare d’approcher, avec qui il se sentait un véritable rapport de goûts. Dans les lettres qu’il reçut de lui, on sent une vive effusion d’affection. Debussy, le solitaire . . . avait besoin d’amitié. . . . Dans ses lettres à Inghel, écrites pendant les vacances qui l’éloignaient de Paris, on sent un élan spontané et vrai, comme pour tout ce qu’il aimait. Il était attaché au jeune musicien qui comprenait sa personnalité et [sa] grande oeuvre. . . . Toute sa vie, Inghel garda l’empreinte de “son bon père aimé” Steinlen, et celle de Claude Debussy. Pour lui, ils furent des phares, des guides. Et il éprouva la joie émouvante de pouvoir, jusqu’à ses derniers moments, donner la vie avec passion, avec tout son talent, aux oeuvres de celui qui fut son ami pendant quelques années.

Acknowledgments First and foremost, my gratitude goes to Ralph Locke, Professor of Musicology at the Eastman School of Music and Senior Editor of the Eastman Studies in Music, for his unfailing encouragement and advice at every step of the way. To Denis Herlin, I owe untold thanks for making available to me hitherto unknown documents of great importance that he alone had discovered. I also want to express my appreciation to Roy Howat for his helpful suggestions. And my heartfelt thanks go to Richard Miller for his incomparable translations. I am grateful to Catherine Massip of the Département de la Musique of the Bibliothèque nationale de France, to Linda Ashton of Harry Ransom Humanities Research Center of the University of Texas at Austin, to Rigbie Turner at The Morgan Library, to Mme Mariagela Calubini of the Archivio del Vittoriale, and to Madeleine Nichols and Charles Perrier at the New York Library for the Performing Arts, all of whom made important letters and other materials available to me. Thanks to Monsieur Henri Thieullent I was given permission to include letters held in the above institutions in my book. I wish to thank friends who showed interest in my work and encouraged me along the way, namely, Carolyn Abbate, David Grayson, Marie Rolf, and Charles Timbrell. Finally, my family deserves special mention for their unfailing support and patience, especially my daughter, Jean G. Crocker, whose invaluable advice was always available. Margaret G. Cobb New York October 2004

D. E. Inghelbrecht: A Biography

D. E. Inghelbrecht: A Biography Here is Inghelbrecht: will of iron in a fragile body, leader feared by his soldiers, noble servant of his masters, adored by Debussy.1 Désiré Emile Inghelbrecht was born in Paris on 17 September 1880 and died there on 14 February 1965. His father was a viola player with the Paris Opéra. His mother, a piano teacher, gave him his first piano lessons at the age of four, when he had already started to play the violin. His parents soon discovered that he had perfect pitch. When he was seven, he entered the Conservatoire, where he studied solfège and harmony and also audited a violin class. At the age of sixteen, he was expelled, allegedly because of “musical incompetence.” In fact, the real reason was that he was caught playing the violin in local cafés—a violation of the rules of the Conservatoire. In 1896, Inghel, as he was known to his friends, was appointed second violinist at the Concerts de l’Opéra. There he was exposed to a large repertory, which would serve him well later on. At this time, his friend Pierre Monteux, then conductor of the Concerts Berlioz, occasionally asked Inghelbrecht to replace him, the pianist, the violinist, or the timpanist in his orchestra—all useful experiences. He already had dreams of being a conductor. In 1902, Inghelbrecht first heard a work by Debussy. It was Pelléas et Mélisande, a work that was to leave a lasting impression on him. He was to conduct it throughout his life. 1

Gabriel Astruc, Le Pavillon des fantômes (Paris: Grasset, 1929), 299. Voici Inghelbrecht, volonté de fer dans un corps fragile, chef redouté de ses soldats, grand serviteur de la pensée des maîtres, adoré de Debussy.

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D. E. INGHELBRECHT: A BIOGRAPHY

About 1905, he moved into a studio at 73 rue Caulaincourt. Colette Steinlen, the daughter of the artist Théophile Steinlen, lived in that same building with her father. She and Inghelbrecht soon met. They were married in 1910 and lived in the family apartment with her father, to whom Inghel became very much attached. Their marriage ended in a divorce in 1920. In 1906, Inghelbrecht’s first collaboration with Gabriel Astruc took place when he was asked to conduct the first and gala performance of the opera Le Clown, written by Astruc’s friend Isaac de Camondo. It was a special evening, with Albert Carré, Jusseaume, and Geraldine Farrar participating. Le ToutParis was in the enthusiastic audience at the Théâtre Nouveau. In 1908, we next hear of Inghelbrecht when he was asked by his friend Florent Schmitt to conduct the first performance of his ballet La Tragédie de Salomé at the Théâtre des Arts. It was a great success. On 20 April 1910, excerpts of Schmitt’s Psaume XLVII were to be conducted by a pupil of Gabriel Fauré. However, he became ill just before the last rehearsal, and Inghelbrecht, who was to have been chorus master, was asked to replace him. A member of the orchestra later said that Inghelbrecht arrived at the rehearsal in his pajama top; having been called up so unexpectedly, he had forgotten to get fully dressed. Once arrived, he quickly opened the score and conducted the Psaume with ease. Once again, he achieved a real success. In 1911, Inghelbrecht was appointed chorus master for the performance of Le Martyre de Saint Sébastien. This was the first time that he worked on a composition by and with Debussy. Soon afterward, his piano-vocal score would bear the inscription: “pour D. E. Inghelbrecht, Affectueux remerciements. Claude Debussy Juin 1911.” The following year, Inghelbrecht conducted Le Martyre in an arrangement for orchestra alone that he had made in close collaboration with Debussy. It was given on 14 and 17 June at a concert of the Société Indépendante Musicale (S.I.M.) in the Salle Gaveau, and was very well received. In 1912, Inghelbrecht received his first letters from Debussy, a correspondence that would continue until 1917, the year before Debussy’s death. The letters were rather formal at first, but soon became more personal, clearly showing the


5

attachment that Debussy felt for this young musician with whom he had a real rapport and whom he cherished as a friend. Although Debussy could be cold and distant, avoiding strangers in order to maintain his privacy, he did enjoy a few close friends whose intimacy he needed and cherished. His relationship with Inghelbrecht was based not only on the mutual respect they had for each other as musicians, but also as Debussy wrote: “because you love music.” They also enjoyed a shared admiration for the works of Musorgsky and of Chabrier, about both of whom Debussy wrote in glowing terms. Inghelbrecht, in turn, often opened his concerts with Chabrier’s ode À la Musique and conducted not only the first performance of Boris Godunov in French, but also the first performance of the original version of this work. He gave annual concert performances of Boris whenever possible. The year 1913 was a busy one for Inghelbrecht. He was appointed director of the new Théâtre des Champs-Élysées, where the Inaugural Concert took place on 2 April. The opening number was Chabrier’s À la Musique, which he conducted. On 19 April, he gave the first performance of the Marche écossaise. Debussy was not present at the concert, but when he heard it later, he wrote to Inghelbrecht: “I think that you are the only one to have the true feeling of this piece.” On 5 May, Inghelbrecht conducted Nuages and Fêtes for Loïe Fuller and her dancers. It is no wonder that Debussy wrote the following dedication: “pour D. E. Inghelbrecht—en souvenir d’heures d’études tumultueuses et charmantes—son jeune ami— Claude Debussy—Mai 1913.” This same year, Inghelbrecht founded the Société des Nouveaux Concerts. At their first concert, Debussy conducted Ibéria; Inghelbrecht then took over for the rest of the program. In 1914, the first concert of the new Association Chorale Professionnelle de Paris (the A.C.P.) took place. Inghelbrecht, their founder, presented solely works a cappella. In the revue of the S.I.M. for 1 March, Debussy wrote: “From all points of view, this revival of our choral traditions must be encouraged.” In 1917–1918, during Debussy’s last years, Inghelbrecht visited him faithfully. When Debussy could no longer listen to music, he enjoyed reading scores. Among those he asked for were the a-cappella works that Inghelbrecht was planning to conduct, and one of his last wishes was for the score of Musorgsky’s Pictures at an Exhibition. Inghelbrecht’s last visit to

6


his friend and mentor was just two days before Debussy’s death on 25 March 1918. In 1919, Inghelbrecht conducted the first performance of the ballet La Boîte à joujoux as completed and orchestrated by André Caplet. That same year, he founded the Concerts Pleyel. These concerts were devoted to music of the sixteenth, seventeenth, and eighteenth centuries and were given in the Salle Pleyel, which was famous for its acoustics. Inghelbrecht was next appointed to conduct the Ballets Suédois, a post he held from 1920 to 1923 while traveling all over Europe with them. It was at this time that he met Carina Ari, a gifted ballerina and a remarkable sculptress. They were married in 1928. Their subsequent divorce was amicable. In 1924, Inghelbrecht was appointed music director of the Opéra-Comique, a post he was given again in 1929. He also conducted the Concerts Pasdeloup from 1928 to 1932. In 1929, the Opéra d’Alger invited him to become their director. In order to take on this work, he needed a secretary. He asked Germaine Perrin to come to Algiers with him and take on the job. She needed the work and, after some hesitation, agreed to go. She soon proved to be his ideal partner and worked tirelessly for him. However, the Algerians did not appreciate the work their new director was doing, and Inghelbrecht soon returned to Paris. While in Algiers, Inghel and Germaine had formed a bond—the real partnership they both needed. Inghel insisted that there could be no marriage until Carina, who was still his wife, had found happiness elsewhere. Germaine and Inghelbrecht were married not long after and, as she told me, had thirty ideal years together. The year 1934 brought Inghelbrecht that which he had longed for—an orchestra of his own. He was asked to form a national radio orchestra—this was to be the Orchestre National de la Radiodiffusion Française (the O.N.). He now had his own orchestra, which he led for the first nine years and carefully selected its members. The story is told, however, that when it came time to choose a bassoonist, the jury presided over by Inghelbrecht chose one of the seven candidates. A few days later, a certain senator ordered that another candidate be chosen. Inghelbrecht refused. The senator insisted. The candidate then became a member of the orchestra; Inghelbrecht always addressed him as “Monsieur,” and, when asked how many members there were in his orchestra, answered


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“ninety-six plus one.” Germaine was Inghelbrecht’s ideal partner. She attended his concerts and wrote liner notes for his recordings and program notes for his concerts. Together they wrote a biography of Debussy in 1953. On 3 December 1935, Inghelbrecht was finally able to accomplish his long-held dream when he conducted the Orchestre National in the first Paris performance of the 1874 edition of Boris Godunov. At the time of the war in 1939, the O.N. was evacuated, first to Rennes, in Brittany, and then to Marseilles; it finally returned to Paris in 1943. There, Inghelbrecht proposed a concert to celebrate the thousandth performance of the orchestra and twenty-fifth anniversary of Debussy’s death. The program was to include excerpts from Pelléas et Mélisande and Le Martyre de Saint Sébastien. The occupying forces proposed another program, which Inghelbrecht refused to conduct. The next day—18 July 1943—Inghel received a note from Vichy announcing that his functions as director of the orchestra were suspended by order of President Laval. Finally, after two winters without work, Inghelbrecht was appointed conductor of the Paris Opéra for the years 1945 to 1950. In 1947, he returned to his former post as director of the Orchestre National. In November of that year, Chabrier’s ode À la Musique was on his program, followed by Pelléas et Mélisande in December and Chabrier’s L’Étoile in January 1948. Boris Godunov was soon to follow. In 1958, Inghelbrecht organized a small group of musicians, five in all. They gave weekly radio programs called Entretiens autour d’un piano, in which his wife also took part. At these sessions, the group discussed Inghelbrecht’s favorite composers, illustrating their music by one of the members playing the piano or singing an aria. These broadcasts lasted until Inghelbrecht’s death in 1965. Although Mme Inghelbrecht tried to revive them, the audience missed their leader, and the Entretiens ended. During his entire career as a conductor, Inghelbrecht remained an ardent champion of French music and never ceased to promote the works of Debussy, Chabrier, Fauré, Ravel, and Florent Schmitt. He made more than one recording of Debussy’s orchestral compositions as well as of Pelléas et Mélisande. Sometimes these were from live performances, other times from radio broadcasts. A private

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limited issue of this opera was made by the Orchestre National at the Théâtre des Champs-Élysées on 12 March 1963; Inghelbrecht called it “probably the best one of my life.” Inghelbrecht remained director of the Orchestre National until 1960, when he relinquished the post and became guest conductor. Although Inghelbrecht was entirely self-taught, having left school at the age of eleven, and never having had any training in composition at the Conservatoire, he nevertheless left some sixty compositions, ranging in date from 1902 to 1954. The best known of these may be La Nursery, thirty-six short pieces for piano four-hands, some of which he later orchestrated. These were composed between 1905 and 1932. Of his own compositions, he recorded only the following: the 1930 Sinfonia breve for small orchestra, the 1932 La Légende du grand Saint-Nicholas for voice and orchestra, the 1932 Quatre Fanfares for brass instruments, and a selection from La Nursery for small orchestra in that same year. In 1937, he arranged Musorgsky’s Enfantines for voice and small orchestra. Although it was published, he never recorded it.2 A complete list of his compositions is found in Germaine Inghelbrecht, D. E. Inghelbrecht, 185–90. In addition to composing, Inghelbrecht found time to write the following books: Comment on ne doit pas interpreter “Carmen,” “Faust” et “Pelléas.” Paris: Heugel, 1923. Diabolus in musica: Essais sur la musique et ses interprètes. Paris: Chiron, 1933. Mouvement contraire: Souvenirs d’un musicien. Paris: Éditions Domat, 1947. Le Chef d’orchestre et son équipe. Paris: Julliard, 1949. Translated as The Conductor’s World by G. Prerauer and T. Malcolm Kirk. London: Peter Neville, 1953; New York: University Books, 1957. Le Chef d’orchestre parle au public. Paris: Julliard, 1957.

and with his wife: Germaine and D. E. Inghelbrecht. Claude Debussy. Paris: Julliard, 1953. 2

See the Discography for a list of Inghelbrecht’s recordings and recorded works.

Letters from Debussy to Inghelbrecht

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LETTERS FROM DEBUSSY TO INGHELBRECHT

Letter I 80, Avenue du Bois de Boulogne [22 mai 1912] Mon cher Inghelbrecht, Il me semble plus agréablement pratique que vous veniez Jeudi prochain vers 11h du matin. Étant donné que d’Annunzio ne veut rien savoir pour un “argument”, à cause, dit-il, de Mme I. Rubinstein, ça ne sera pas très facile de trouver une rédaction claire! en toute sympathie Claude Debussy


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80, Avenue du Bois de Boulogne [22 May 1912] My dear Inghelbrecht, It seems to me more pleasantly practical were you to come next Thursday about 11 o’clock. Since d’Annunzio does not want to hear anything about a “plot,” because—he says—of Mme I. Rubinstein, it will not be very easy to come up with a clear version! Most sympathetically Claude Debussy

Notes Gabriele d’Annunzio had long been interested in the subject of Saint Sebastian. On 25 November 1910, he wrote to Debussy asking him to compose music for the work he was writing, namely, Le Martyre de Saint Sébastien. Debussy agreed to the proposal. Although he had not seen a word of the text, the subject interested him. While working together on Le Martyre, both artists benefited from a mutual understanding and an admiration they had for each other. D’Annunzio next asked Ida Rubinstein to undertake the role of Saint Sébastien, having been impressed by her performance in Diaghilev’s Ballets Russes productions of Cléopâtre and Shéhérazade. She quickly agreed. Debussy soon found her difficult to deal with. More than once she made demands of changes from him, none of which he granted. The first performance of Le Martyre de Saint Sébastien, a mystery play in five acts, took place on 22 May 1911. Debussy asked his friend André Caplet to conduct, Gabriel Astruc chose Inghelbrecht as chorus master, and he in turn appointed his friends André Vuillermoz and Marcel Chadeigne as coaches. Now, a year later, Debussy wants to discuss Inghelbrecht’s arrangement of Le Martyre in the form of an oratorio. The following undated letter (probably February 1911) was written by Emma Debussy to Gabriel Astruc:

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Notes, continued 80, Avenue du Bois de Boulogne Samedi Cher Monsieur Vous êtes mille fois aimable, mais mon mari pense que vous ne lui en voudrez pas de ne rien pouvoir accepter dans un moment où les minutes sont comptées. Attendons que son double martyre soit fini et ce sera vous alors qui nous ferez le très grand plaisir, ainsi que Madame Astruc, de venir dîner tout simplement, ici avec nous. Tous mes regrets et mes souvenirs les meilleurs, Emma Claude Debussy Lu et approuvé à l’unanimité. Et tous mes compliments pour le choix d’Inghelbrecht—Comme dans les vaudevilles—j’allais vous le proposer! Amicalement Claude Debussy


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Notes, continued 80, Avenue du Bois de Boulogne Saturday Dear Sir, You are extremely kind, but my husband hopes that you will not be upset with him if he finds himself unable to accept any invitations at this time when every minute must be accounted for. Let us wait until this two-fold martyrdom is over, at which time you, as well as Madame Astruc, will do us the great pleasure of coming to us for a simple evening. With great regret and my very best wishes, Emma Claude Debussy Read and agreed to completely. And felicitations for having chosen Inghelbrecht—As they say in comedy sketches—you read my mind! Cordially, Claude Debussy1 This letter was obviously written in early 1911 when Debussy was working on Le Martyre de Saint Sébastien.

1 This letter is in the Papers of Gabriel Astruc, Dance Division, The New York Public Library for the Performing Arts.

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Letter II 80, Avenue du Bois de Boulogne 2 Juin - 12 Mon cher Inghelbrecht Voulez-vous être assez aimable pour laisser vos choristes (femmes) répéter les Sirènes Mardi matin. Nous n’avons guère que cette répétition là pour mettre les choses au point . . . ! Il paraît que cette année, le choriste est hors de prix et très demandé et le Concert Domergue a lieu Mercredi. Comptant sur votre habituelle gentillesse je vous remercie à l’avance et suis en affectueuse cordialité votre Claude Debussy


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80, Avenue du Bois de Boulogne 2 June - 12 My dear Inghelbrecht, Would you be so good as to let your choristers (women) rehearse Sirènes on Tuesday morning. That is almost the only rehearsal we have to get things right . . . ! It seems that this year a chorister is extremely expensive and much in demand, and the Domergue concert is on Wednesday. Relying on your usual kindness, I thank you in advance and am, with affectionate cordiality, your Claude Debussy

Notes Debussy asks Inghelbrecht, the chorus master for Sirènes, for a rehearsal the day before the concert.

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Letter III Mercredi soir 5 juin 1912 Mon cher Inghelbrecht, Les destinées du Concert Domergue sont accomplies puisqu’il n’aura pas lieu. Excusez-moi d’avoir troublé l’ordre de vos répétitions et, avec mes remerciements tout de même, croyez à mon affectueuse cordialité. Claude Debussy


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Wednesday evening 5 June 1912 My dear Inghelbrecht, The destinies of the Domergue concert have been accomplished, as it will not take place. Excuse me for having troubled the order of your rehearsals and, with many thanks nevertheless, believe in my affectionate cordiality. Claude Debussy

Notes The Domergue concert, which was to have taken place the day this letter was written, had been canceled.1 1 The current location of this letter is unknown. The text was kindly communicated by Denis Herlin.

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Letter IV Pneumatique [12 Juin 1912] [Mercredi] Mon cher Inghelbrecht, Voulez-vous avoir la complaisance de venir chez moi demain matin Jeudi, avec St. Sébastien. Il y a des mouvements qui ne sont pas exacts, et nous serons plus à notre aise pour ce petit travail. Mon affectueuse cordialité Claude Debussy


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Pneumatique [12 June 1912] [Wednesday] My dear Inghelbrecht, Would you be so good as to come to see me tomorrow morning, Thursday, with St. Sébastien. There are some tempi that are not exactly quite correct, and we will be more comfortable to do this little work. My affectionate cordiality Claude Debussy

Notes In 1912, Debussy discussed with Inghelbrecht the idea of performing Le Martyre de Saint Sébastien in the form of an oratorio. Inghelbrecht made such an arrangement under Debussy’s supervision. This abridged version was performed on Friday 14 June and on Monday 17 June by the Concert Orchestra of the Société Musicale Indépendante in the Salle Gaveau. This Société specialized in giving first performances. Debussy, working with Inghelbrecht’s oratorio, wants to rehearse it with him, as it is to be given two days later.

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Letter V Pneumatique [12 Juin 1912] Mercredi soir Mon cher Inghelbrecht, Entendu pour demain soir 6h votre Claude Debussy


Pneumatique [12 june 1912] Wednesday evening My dear Inghelbrecht, All right for tomorrow evening at 6 o’clock. Yours, Claude Debussy

Notes Debussy confirms the time of the rehearsal of Le Martyre for the evening of the day of the concert.1 1

This letter is in The Morgan Library, New York.

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Letter VI 80, Avenue du Bois de Boulogne Samedi matin [15 Juin 1912] Mon cher Inghelbrecht, Excusez-moi d’être parti sans vous remercier, mais, décidément, la figure des gens du concert n’est pas assez musicale! Croyez bien que je vous suis sincèrement reconnaissant de votre effort à mettre sur pied, en aussi peu de temps, une œuvre comme Le Martyre de St. Sébastien. Il y fallait plus que du talent. Encore merci et affectueusement votre Claude Debussy


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80, Avenue du Bois de Boulogne Saturday morning [15 June 1912] My dear Inghelbrecht, Excuse me for having left without thanking you, but, honestly, the look of the concertgoers is not musical enough! Please believe that I am sincerely grateful to you for your effort to put together, in such a short time, a work like Le Martyre de St. Sébastien. It took more than talent. Thank you again, and affectionately yours, Claude Debussy

Notes Debussy was worried that Inghelbrecht’s version of Le Martyre might not be a success and chose not to attend its performance.

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Letter VII 80, Avenue du Bois de Boulogne 15 Juin 1913 ^⭈ ⭈⭈ ⭈ Ça sera excellent . . . mon cher Inghelbrecht! et je vous remercie pour la, je-ne-sais-plus-combien-de-fois, de votre gentil dévouement. Faites chauffer les cinquantes choristes—à feu doux—je serai là Mercredi à 4h. Mes bons souvenirs aux vôtres et amicalement votre Claude Debussy


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80, Avenue du Bois de Boulogne 15 June 1913 ^⭈ ⭈⭈ ⭈ That will be excellent . . . my dear Inghelbrecht! And I thank you for the I-no-longer-know-how-many-instances of your kind devotion. Warm up the fifty choristers—over a low flame—I will be there on Wednesday at 4 o’clock With my kind regards to your family, your friend Claude Debussy

Notes The choristers belonged to the Association Chorale Professionnelle de Paris (A.C.P.). Debussy wants to rehearse them the day before the concert when he is to conduct the Trois Chansons de Charles d’Orléans. In 1912, a number of Parisian choral singers realized that for the Grandes Saisons Gabriel Astruc had to import foreign groups. Several of the singers, therefore, sent a telegram to him saying that they wanted to participate in such performances. Astruc replied that they were not organized and had no conductor. The group then appointed Inghelbrecht as their conductor, and, with his friend, Fernand Lamy, the A.C.P. was formed. Astruc played an important role in Inghelbrecht’s early career. In 1911, in addition to appointing him chorus master in Le Martyre, he named him music director at the Théâtre du Châtelet. In 1912, as just mentioned, it was he who suggested that Inghelbrecht organize the group that became the A.C.P. In 1913, he named him music director and conductor at the Théâtre des Champs-Élysées. The Inaugural Concert of the Théâtre des Champs-Élysées took place on 2 April 1913 with a program that consisted of a group of wellknown composers conducting their own works. To open the concert, Ingehlbrecht conducted Emmanuel Chabrier’s ode À la Musique; this was followed by Camille Saint-Saëns with Phaëton, Gabriel Fauré with La Naissance de Vénus, Debussy with Prélude à L’Après-midi d’un faune, Vincent d’Indy with Le Camp de Wallenstein, Paul Dukas with L’Apprenti sorcier, Inghelbrecht with Édouard Lalo’s Scherzo, and finally Saint-Saëns with La Lyre et la Harpe. Concerning Saint-Saëns’s participation in this concert, Astruc tells the following story: “I had telegraphed Saint-Saëns in the Balearic Islands to ask him to lead the illustrious cortege. He replied: ‘There must be two

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Notes, continued concerts, One for me alone, including La Lyre et la Harpe, complete, and another for the others.’ My reply was ‘Impossible.’ His was: ‘It will be that or nothing.’ I sent a cable: ‘All right then, nothing.’ Two hours later, the maestro agreed to conduct Phaëton alongside his ‘comrades.’ ”1 Chabrier’s ode À la Musique was a favorite work of both Debussy and Inghelbrecht, who referred to it as the “musician’s creed” (le Crédo du musicien). At the last rehearsal for the Inaugural Concert, Debussy, who was present, asked Inghelbrecht to repeat the ode just because he was so fond of it that he wanted to hear it again. Chabrier was truly one of the contemporary composers whom Debussy genuinely admired. According to Madame de Tinan, he often played and sang Chabrier’s comic opera L’Étoile from beginning to end, and she often saw the score of his opera Gwendoline on his piano. Debussy’s large Chinese porcelain frog, which he kept in the salon, was named Gwendoline. Paul Dukas was one of the few composers with whom Debussy had a lifelong friendship. This began when they met at the Conservatoire. Their mutual interest in subjects other than music can be seen on the score of the Prélude à L’Après-midi d’un faune, which bears the inscription: “Amitiés, Esthétique . . . Toute la lyre” (Friendship, Aesthetics . . . the whole gamut). Dukas was to remain a staunch supporter of Debussy’s music all his life.

1

Gabriel Astruc, Le Pavillon des fantômes (Paris: Grasset, 1929), 285.

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Letter VIII 80, Avenue du Bois de Boulogne 15 Septembre - 13 Mon cher Inghelbrecht, Vous avez dû recevoir un manuscrit de Raoul Bardac, pour lequel je viens vous demander une sympathique attention. Sans parler de mon affection pour Raoul Bardac, il me semble, à moins que je n’ai perdu tout sens critique, que son œuvre mérite la faveur d’une exécution. . . . Vous tâcherez de faire cela, Inghelbrecht, parce que vous aimez la musique et que vous ferez plaisir à votre vieil ami Claude Debussy Pouvez-vous passer chez moi pour un supplément d’informations, et au sujet de La Sulamite qu’on a tort d’abondonner! [addressed to:] Monsieur D. E. Inghelbrecht aux soins obligeants de M. G. Astruc 32, rue Louis-Le-Grand


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80, Avenue du Bois de Boulogne 15 September - 13 My dear Inghelbrecht, You should have received a manuscript from Raoul Bardac, to which I am asking you to give sympathetic attention. Without speaking of my affection for Raoul Bardac, I do feel, unless I have lost all critical sense, that this work deserves to be favored with a performance. . . . You will undertake to do that, Inghelbrecht, because you love music and because you will be giving pleasure to your old friend Claude Debussy Could you drop by to see me for some additional information and about La Sulamite, which they are wrong to abandon! [Addressed to:] Monsieur D. E. Inghelbrecht By the kindness of Mr. G. Astruc 32, rue Louis-Le-Grand

Notes Raoul Bardac was a sensitive, modest, and reticent man who was an intelligent musician. He began taking lessons from Debussy in 1899. These, however, were more in the form of advice—those of a master to his disciple, as can be seen in Debussy’s letter to Bardac of 27 August 1901: “I believe that you should not hurry to write. . . . One can never spend too much time constructing that special atmosphere in which a work of art should move.”1 Bardac’s work mentioned in Debussy’s letter2 must be his composition entitled Heures (Hours), which was published in 1913. His other compositions include a number of songs written between 1903 and 1914 and works for piano published between 1914 and 1943. 1 Edward Lockspeiser, Debussy, Master Musicians Series, 5th ed., rev. (London: J. M. Dent & Sons, Ltd., 1980), 285–86. 2 This letter is in the Bibliothèque nationale de France, Département de la Musique.

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Notes, continued Debussy’s interest in La Sulamite, Chabrier’s scène lyrique, is well known. He told Gustave Samazeuilh that he was greatly influenced by the opening bars of this piece when he wrote the opening bars of La Damoiselle élue.3 Inghelbrecht, also an admirer of Chabrier, gave frequent performances of La Sulamite; the last one was in 1964, the year before his death.

3

Gustave Samazeuilh, Musiciens de mon temps (Paris: Éditions Marcel Daubin, 1947), 47.

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Letter IX Mon cher ami Vous pouvez compter sur moi demain Mercredi à 2 heures . . . très heureux que l’ascenseur fonctionne, seulement j’ai complètement oublié de lui réserver une partie dans Ibéria, si vous le voulez bien ça sera pour la prochaine fois. Continuez à m’être “bien respectueusement dévoué”. Vous ne saurez jamais assez combien cela me fait plaisir, venant d’un artiste tel que vous, parmi cette bande de jeunes paltoquets dont vous connaissez, encore plus que moi, les qualités de cynisme. Tout de même, changer “respectueusement” pour “affectueusement”. Voulez-vous? votre vieux dévoué Claude Debussy 30 Sept - 13


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My dear friend, You can count on me tomorrow, Wednesday, at 2 o’clock . . . very glad that the elevator is working, except that I had completely forgotten to reserve a part for it in Ibéria; if you wish, that will be for the next time. Please keep being “most respectfully devoted” to me. You will never fully known how much pleasure that gives me, coming from an artist like yourself, among that gang of young upstarts whose cynical qualities you know better than I do. Nevertheless, do change “respectfully” to “affectionately.” Will you? Your old devoted Claude Debussy 30 Sept. - 13

Notes In order to attract the public to his new Théâtre des Champs-Élysées, Astruc asked Debussy to conduct Ibéria at the first concert to be given there by the Société des Nouveaux Concerts on 15 October 1913. Inghelbrecht was to conduct the orchestra and the chorus for the rest of the program. Debussy now reminds Inghelbrecht of the rehearsal. At one of the rehearsals, of which there would be twenty, the percussionist in charge of the bells in Part III of the score failed to execute his part to Debussy’s satisfaction, and Inghelbrecht went up to help him. On the day of the concert, Inghelbrecht had hoped to be able to listen to Ibéria from the concert hall. However, Debussy in an anguished voice asked him to go back to the bells, saying that he was used to seeing his little head up there. As requested, Inghelbrecht again rang the bells for Le Matin d’un jour de fête.

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Letter X Pneumatique 80, Avenue du Bois de Boulogne 10 Oct / 13 Mon cher Inghelbrecht, Comptez sur moi demain à 9 1/2—Si nous avions le temps, on pourrait chanter La Damoiselle élue en espagnol, et transformer la Marche écossaise en Estudiantina, pour rester dans la couleur— Affectueusement Claude Debussy


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Pneumatique 80, Avenue du Bois de Boulogne 10 Oct. / 1913 My dear Inghelbrecht, Expect me tomorrow at 9:30—If we had time, we could sing La Damoiselle élue in Spanish and transform the Marche écossaise into Estudiantina, to preserve the same spirit. Affectionately Claude Debussy

Notes Debussy is making fun of the Spanish tinge in the program of the 15 October concert and proposes using Estudiantina, a popular waltz by Waldteufel based on a Spanish song by Paul Lacome.

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Letter XI Pneumatique 80, Avenue du Bois du Boulogne Dimanche 9 Nov / 13 Cher Inghelbrecht, depuis la représentation unique, mais admirable, de Boris, je voulais vous dire ma reconnaissance pour ce que vous avez fait. . . . Mener à bien une troupe de gens où, la meilleure bonne volonté était combattue par la plus détestable des lâchetés, c’est vraiment très bien! Naturellement, nos bons critiques ont voulu l’ignorer, et c’est à peine si l’on a parlé de vous, de vos efforts, de votre réussite! C’est un peu écœurant, et le dieu qui juge les Français doit en avoir une fichue opinion pour le moment! Avez-vous quelque chose de nouveau? Il est impossible que tant de beauté soit piétinée par les pieds indifférents des dilettantes. (Quels sombres idiots!) Si vous avez besoin de moi, n’hésitez pas, et croyez moi toujours votre vieux dévoué Claude Debussy


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Pneumatique 80, Avenue du Bois de Boulogne Dimanche 9 Nov. / 13 Dear Inghelbrecht, ever since the sole, but admirable, performance of Boris, I have wanted to express my gratitude for what you have done. . . . To succeed with a group of people where the best goodwill was up against utterly despicable behavior is really great! Of course, our fine critics tried to ignore it, and there has been barely a mention of you and your efforts and your success! It is a bit disheartening, and the god that sits in judgment of the French must have a pretty sorry opinion of them at the moment! Do you have anything new? It is impossible that so much beauty should be trampled under the indifferent feet of dilettantes. (What prize idiots!) If you need me, do not hesitate, and believe me always your old devoted Claude Debussy

Notes The performance of Musorgsky’s opera Boris Godunov given on 12 October at the Théâtre des Champs-Élysées was special, not only because it was the first time it was sung in French, but also because it was the last performance to be given in that theater with Astruc as director— he was then bankrupt. The idea of producing Boris, if only for one performance, had come from Inghelbrecht and Robert Brussel. Knowing that Astruc had the sets and the costumes, Inghelbrecht arranged that the entire personnel (singers, musicians, electricians, dressers, ushers, etc.) would give their services without pay. This performance was to be their ultimate tribute to Astruc, their director, by the personnel of the theater. Debussy attended all the rehearsals of the opera and often made helpful suggestions to Inghelbrecht, whom he joined during the intermissions. According to Astruc: “Musorgsky’s tragedy took place in an atmosphere of extreme anguish which seemed to add to its beauty.”1 1

Astruc, Le Pavillion des fantômes, 289.

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Notes, continued Musorgsky was a favorite composer of both Debussy and Inghelbrecht, each of whom wrote of him in glowing terms. Debussy called the song cycle Nursery a masterpiece and wrote: “No one else has spoken to our better natures in tones of such tenderness and depth.”2 In turn, Inghelbrecht described Boris as “one of the greatest masterpieces of lyric art,”3 and included it regularly in his programming.

2 Claude Debussy, Monsieur Croche et autres écrits, introduction and notes by François Lesure, rev. and enlarged ed. (Paris: Gallimard, 1987), 29. 3 D. E. Inghelbrecht, Le Chef d’orchestre parle au public (Paris: Julliard, 1957), 81.

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Letter XII 80, Avenue du Bois de Boulogne 17 Novembre / 13 Cher Inghelbrecht, Voulez-vous me rendre le service de me prêter votre partition de la Marche écossaise? Je crois que vous êtes seul à avoir la vraie tradition de ce morceau, et en tout cas cela me portera bonheur de diriger sur votre partition. Merci et affectueusement votre Claude Debussy


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80, Avenue du Bois de Boulogne 17 November / 13 Dear Inghelbrecht, Would you do me the favor of lending me your score of the Marche écossaise? I think that you are the only one to have the true feeling of this piece and, in any event, conducting from your score will bring me luck. Thank you, and yours affectionately, Claude Debussy

Notes At the invitation of Koussevitzky, Debussy was preparing to give two concerts of his works in Russia. The first concert took place at Saint Petersburg on 9 December, the second at Moscow on 12 December. The programs were identical and included the first two Nocturnes, La Mer, the Prélude à L’Après-midi d’un faune, the Marche écossaise, and the Rapsodie for clarinet and orchestra. Debussy heard the Marche écossaise for the first time when he happened to walk in on a rehearsal of the Nocturnes that Inghelbrecht was to conduct at a concert on 5 May 1913. Debussy asked why he had not been asked to attend the rehearsal and added that Inghelbrecht had earlier conducted a work of his without inviting him to hear that one either. Inghelbrecht explained that he did not want to expose Debussy to the other works on the program that were to be played by an acrobatic violinist. That concert took place on 19 April, when Inghelbrecht conducted the first performance of the Marche écossaise. Going back to the rehearsal, Inghelbrecht then led the orchestra in a performance of the Marche écossaise for the composer’s benefit. Thus in 1913, Debussy heard for the first time the 1908 orchestral version of the work which he had composed in 1891; he exclaimed, “Mais c’est jolie!” (But it’s very pretty!)

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Letter XIII Pneumatique 80, Avenue du Bois de Boulogne 19 Novembre / 13 Cher Inghelbrecht, Hier, je n’ai pas osé vous demander si votre beau-père voudrait bien nous faire le plaisir de nous accompagner Vendredi, par crainte que cela ne l’ennuie! Soyez notre ambassadeur et faites comme pour nous! votre vieux dévoué Claude Debussy


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Pneumatique 80, Avenue du Bois de Boulogne 19 November / 13 Dear Inghelbrecht, Yesterday, I didn’t venture to ask you if your father-in-law would do us the pleasure of accompanying us on Friday, for fear that it might bore him! Be our ambassador and do so on our behalf! Your old devoted Claude Debussy

Notes Following Inghelbrecht’s marriage, in 1910, to Colette Steinlen, daughter of the artist Théophile Steinlen, he moved into the Steinlens’ apartment, which the artist called “La Maison des Arts Réunis” (the House of United Arts). A close relationship soon developed between the older artist and the young musician, of which Debussy was well aware. Steinlen made a pen-and-ink drawing of Debussy for the program of the Inaugural Concert of the A.C.P. that Inghelbrecht conducted on 31 January 1914. Debussy mentioned Steinlen in several of his letters to Inghelbrecht and evidently enjoyed his company. In a letter from Debussy dated 12 May 1916, addressing Steinlen “Monsieur et ami” (Dear Sir and friend), Debussy invites him to accompany the Inghelbrechts the next day to the Square de Bois de Boulogne.

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Postcard I [Hannover, 16 Dec. 1913] Si vous ne les trouvez pas beaux, c’est que vous êtes bien difficile! à bientôt Cl D


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[Hannover, 16 Dec. 1913] If you don’t think that they are handsome, it’s because you are hard to please. See you soon Cl D

Notes This card shows a picture in color of four pompous Germans (Prussian generals) in full dress with their decorations. Debussy sent this card while on his way back from Russia, where he had given two concerts: the first in Saint Petersburg on 9 December, the second in Moscow on 12 December.

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Letter XIV Dimanche 18 Janvier / 14 Cher Inghel, Malgré de longues et patientes recherches je n’ai pas trouvé le Debussy de face que réclamait votre beau-père! Y compris le portrait de Monsieur Jacques-Émile Blanche, où je prends l’apparence d’un fromage blanc fatigué par les veilles. . . . De plus, en réfléchissant, il me semble que, les “tant” illustres auteurs inscrits sur votre programme pourraient se blesser de se voir représenté par le seul Debussy! Laissez-nous tous sous le patronnage de Charles d’Orléans, doux prince aimé des muses, et si gentil français! Affectueuses pensées du vieux Claude Debussy


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Sunday 18 January 1914 Dear Inghel, Despite long and painstaking searching I have not found the full-face Debussy your father-in-law was asking for! As well as the portrait by Monsieur Jacques-Émile Blanche, in which I resemble a cream cheese that has had too many late nights. Furthermore, on reflection, I feel that the most illustrious composers listed on your program might be hurt to see themselves represented by Debussy alone! Leave us all under the patronage of Charles d’Orléans, sweet prince beloved of the Muses, and most noble Frenchman! Affectionate regards from old Claude Debussy

Notes Steinlen had obviously asked Debussy to let him see a portrait of himself but he could not find it. Nor could he find the larger of the two portraits of himself that Jacques-Émile Blanche had painted. The program of the concert Debussy mentions in this letter is that of the Inaugural Concert of the A.C.P. at the Salle Gaveau on 31 January 1914. It was made up solely of a-cappella choral works: a motet by Bach was followed by madrigals and chorales by Roland de Lassus, Josquin des Prés, Monteverdi, and Palestrina, then various works by Mendelssohn, Borodin, Musorgsky, Grieg, Reynaldo Hahn, Florent Schmitt, and Debussy’s Trois Chansons de Charles d’Orléans. In his review of the concert, Debussy wrote: “One ought to single out everything that was performed at this first concert. There even may have been too many beautiful things one after the other—we are unused to such generosity. . . . It was all the work of D. E. Inghelbrecht—as slender as his baton—whose enthusiastic spirit brought together all these performers and whose scrupulous authority unfailingly controls the whole.”1 We note that this is the first letter in which Debussy uses the affectionate form “Inghel” in writing to his friend. 1

Debussy, Monsieur Croche et autres écrits, 263.

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Letter XV Pneumatique 24 Fev / 1914 Cher Inghel, Revenu de Rome cet après-midi je repars pour Amsterdam. . . . J’aime beaucoup cette existence de placier en doubles croches!—Mais voilà que l’on a oublié mes baguettes . . . en avez-vous une à me prêter pendant quelques jours? . . . ma reconnaissance ne peut tenir dans un aussi petit format. votre vieux dévoué Claude Debussy Le chauffeur Jules passera chez vous vers 10 1/2 (ne dites à quiconque que je suis à Paris)


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Pneumatique 24 Feb. / 1914 Dear Inghel, Back from Rome this afternoon I leave again for Amsterdam. . . . I very much like this life of a traveling salesman in sixteenth notes! And now, someone has forgotten my batons . . . do you have one you could lend me for a few days? . . . my gratitude cannot be expressed in such a small format. Your old devoted Claude Debussy Jules, the chauffeur, will come by your place about 10:30 (don’t tell anyone I am in Paris) Notes Debussy had just returned from Rome where he had conducted the orchestra of the Augusteo on 22 February. The program at that concert consisted of La Mer, Rondes de printemps, Prélude à L’Après-midi d’un faune, and the Marche écossaise. He next left for Holland, where he led the Concertgebouw Orchestra in Amsterdam on 28 February and The Hague on 1 March. The program at each concert consisted of the Nocturnes: Nuages and Fêtes, the Prélude à L’Après-midi d’un faune, the Marche écossaise, and three Préludes for piano (Danseuses de Delphes, La Fille aux cheveux de lin, and La Puerta del Viño). Debussy did not enjoy these trips abroad, which he made in order to meet the demands of the luxurious lifestyle of his wife Emma. This is evident in a letter he wrote to Jacques Durand on 4 January 1914: “May I confide in you that this voyage to Rome, as well as those to Amsterdam and The Hague, make me profoundly unhappy” (m’attriste infiniment).1 Debussy asked to borrow one of Inghelbrecht’s batons so that he would not have to go out in order to buy his own, as he did not want anyone to know that he was in Paris in that short time before his departure for Holland. When Debussy returned the batons, Inghelbrecht marked them with Debussy’s initials and kept them as precious souvenirs. The chauffeur, Jules, waited daily at the garden gate should Debussy want to go out. According to Madame de Tinan, he rarely did so. At times, he would visit his publisher, go to a bookseller, or maybe to a dealer in Chinese antiques, objets d’art of which he was particularly fond. 1

Claude Debussy, Lettres à son éditeur (Paris: Durand et Cie, 1927), 119–20.

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Letter XVI 18 Août - 1914 Cher D. E. Nous n’avons pas bougé . . . La guerre a nettoyé Paris de tous ses métèques, soit en les fusillant, soit en les expulsant. C’est devenu instantanément un endroit charmant. Raoul Bardac, pour l’instant, est à Versailles—service automobile— Le Caporal Satie défend Arcueil. Erl . . . r [Erlanger] est à la disposition du Ministre de la Guerre—peut-être pour nettoyer les encriers?— Si l’on tient à ce que je me fasse casser la figure, j’espère pouvoir le faire aussi bien qu’un autre. Sans cela, mon âge, mes aptitudes militaires me rendent tout au plus bon à garder une palissade! Ne doutez pas que nous n’ayons beaucoup pensé à vous! Tous les jours, ma femme, ou Chouchou demandait: “Où sont les Inghel”? Ainsi, quoique l’Avenue des Cerisiers soit une bien jolie adresse, tâchez de revenir le plus vite possible, votre présence est doublement indispensable: ami ⫹ citoyen ⫽ joie! (selon Marinetti) Toutes nos affectueuses pensées pour vous deux, avec l’amitié de votre vieux dévoué Claude Debussy P.S. En 70, ils avaient Richard Wagner. En 1914, ils n’ont plus que Richard Strauss.


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18 August–1914 Dear D. E. We haven’t budged. The war has cleansed Paris of all its foreigners, they have either been shot or deported. It has instantly become a charming place. Raoul Bardac, for the moment, is in Versailles—in the automobile corps. Corporal Satie is defending Arcueil. Erl . . . r [Erlanger] is attached to the War Ministry— cleaning inkwells perhaps? If they insist on my getting banged up, I hope to be able to do it as well as anyone else. Otherwise my age, my military aptitudes make me at best fit for a barricade watch. You can be assured that we have thought about you a lot! Daily, my wife, or Chouchou, asks “Where are the Inghels?” So, even though the Avenue des Cerisiers is a pretty address, try to return as quickly as possible, your presence is doubly indispensable: Friend ⫹ citizen ⫽ joy! (according to Marinetti)! All our affectionate thoughts to you both, with the friendship of your old devoted Claude Debussy P.S. In the 70s, they had Richard Wagner. In 1914, they have only Richard Strauss.

Notes Satie was living in his apartment in Arceuil. Camille Erlanger was a prominent opera composer. Debussy is said to have first met Satie at the Auberge du Clou in 1890. It was probably there that Satie described their first meeting: “The very first time I saw him I felt drawn to him, and wished to live forever at his side”1 In 1892, Debussy orchestrated Satie’s Gymnopédies nos. 1 and 3, the only orchestration he ever did of a contemporary composer’s work (save 1

Satie, Erik, Écrits réunis par Ornella Volta (Paris: Éditions Champs Libre, 1977), 67–68.

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Notes, continued Saint-Saëns in 1890). For many years Debussy and Satie were very good friends and saw each other often. However, a rupture came in 1917 when Satie’s feelings were hurt because he felt that Debussy showed a lack of enthusiasm for his ballet Parade. Later, Satie deeply regretted the rift. His Élégie, composed in 1920 for “Le Tombeau de Claude Debussy” is dedicated to Debussy and bears the inscription: “In memory of an admiring and happy thirty-year-long friendship.”2 Debussy was devoted to his daughter Chouchou, who played an important role in his life. To Robert Godet, he wrote on 18 December 1911: “Chouchou’s smile helps me through certain dark hours.”3 On his numerous trips abroad to conduct his works, he never forgot to send Chouchou letters and postcards. It was while Inghelbrecht was on vacation in Lausanne, staying on the Avenue des Cerisiers, that he received notice that he had been drafted.

2 La Revue Musicale, December 1920, Supplément Musical: “Le Tombeau de Claude Debussy,” 32. 3 Claude Debussy, Correspondance, 1884–1917, collected and annotated by François Lesure (Paris: Hermann, 1993), 298.

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Letter XVII Pneumatique 10 Janvier 1915 - (soirée) Cher Inghel, Pour ne pas désobliger Chouchou nous avons remplacé les Nouveaux Concerts par le Cinéma des Champs-Élysées . . . C’était très beau. Nous avons vu: le roi Albert comme je vous vois; Le Calvaire d’une Reine, où l’émotion n’a pas une minute à perdre; Monsieur Max Linder qui a beaucoup plus de talent que MM. Chevillierné et Piernard réunis. Malgré tant d’attractions “empressées à me plaire”, j’ai constamment pensé à vous, votre pneu m’ayant parfaitement navré. . . . Vous voyez bien qu’il ne faut pas trop aimer la musique, et qu’en la traitant plus dur que “Boches”, on réussit à embarrasser les meilleures bonnes volontés! Tout de même, les gens sont de tristes gaufres. Comment ne s’aperçoivent-ils pas qu’on leur fait payer très cher le plaisir d’entendre, dans une sorte de piscine, des exécutions de fortune? Dieu finira bien par reconnaître les siens, comme dit l’Évangile. Croyez-moi toujours avec vous . . . (C’est toujours ça!) Mes affectueux souvenirs à votre femme, à votre cher beau-père. votre vieux dévoué Claude Debussy


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Pneumatique 10 January 1915 - (evening) Dear Inghel, In order not to upset Chouchou, we replaced the Nouveaux Concerts with the Cinéma des Champs-Élysées. . . . It was very fine. We saw King Albert as plain as I see you; Le Calvaire d’une Reine, in which emotions come fast and furious; Monsieur Max Linder, who has a lot more talent than Messrs. Chevillierné and Piernard put together. Despite so many attractions that were “aimed to please me,” I thought of you constantly, your pneu having upset me a great deal. . . . You see that one must not love music too much, and that dealing with it more harshly than the “Boches,” one succeeds in contravening the best of intentions. All the same, people are poor dopes. How can one fail to see that they are being asked to pay a very high price for the pleasure of listening to some makeshift performance in a sort of swimming pool? God will recognize His own one day, as the Gospel says. Believe that I am always with you . . . (there’s always that!) My affectionate regards to your wife and your dear fatherin-law. your old devoted Claude Debussy

Notes The Nouveaux Concerts, founded in 1913 by Inghelbrecht at the request of Gabriel Astruc, took place at the Théâtre des Champs-Élysées with Inghelbrecht as conductor. Albert I was King of the Belgians. Max Linder was the owner of the Ciné Max Linder, whose programs were advertised as the ideal cinema for the whole family. Debussy jokingly interchanged syllables in the names of the conductors Chevillard and Pierné. He was at first full of praise for the conductor Camille Chevillard: marvelous understanding of Beethoven’s

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“Ninth” in 1901. However, on 10 October 1905, he had found him unable to understand the score of La Mer and wrote to Jacques Durand: “That man should have been a wild-animal trainer . . . he really has very little artistry.”1 Chevillard conducted the first performances of the first two Nocturnes: Nuages and Fêtes, in 1900, the complete Nocturnes in 1901, La Mer in 1905, the Petite Suite in 1907, and the Berceuse héroïque in 1915. Debussy also had mixed feelings about the conductor Gabriel Pierné’s interpretations of his works. In a letter to André Caplet dated 22 December 1911, he wrote: “For my sins, I heard La Mer conducted by Gabriel Pierné, it was deplorable and embarrassing.”2 On the other hand, following the conductor’s performance of Beethoven’s “Pastorale” symphony, Debussy remarked that he had conducted it very well. Pierné conducted the first performances of two Images: Ibéria in 1910 and Gigues in 1913, and the first concert performance of Jeux in 1914. The pneu (the short form of pneumatique, an express letter) probably announced that Inghelbrecht had been drafted. Boches was the slang term for the Germans during World War I.

1 2

Debussy, Correspondance, 1884–1917, 206–7. Ibid., 300.

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Letter XVIII Pneumatique 26 Mars 1915 Mon cher Inghel, Ma pauvre vieille maman est morte hier dans l’après-midi à 1 h 1/2. Pour elle c’est une délivrance! Pour moi un dur chagrin. Bien tristement vôtre Claude Debussy Mes affectueuses pensées aux vôtres.


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[Pneumatique] 26 March 1915 My dear Inghel, My poor mother died yesterday afternoon at 1:30. For her, it was a release! For me, a great sorrow. Very sadly yours, Claude Debussy My affectionate regards to your family.

Notes Debussy’s mother Victorine (née Manoury, 1836–1915) had five children, of which Claude was the eldest and her favorite. She never sent him to school, but educated him herself at home. He long remembered her as a strict disciplinarian and the times she used to box his ears. Although there are few references to her in his letters, he did not neglect her. Following his move to the house on the Avenue du Bois de Boulogne, he arranged for better lodgings for his parents nearby.

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Letter XIX 80, Avenue du Bois de Boulogne 3 Juin 1915 Cher Inghel, Vous avez bien raison . . . on ne se voit pas! Sans trop savoir pourquoi il est vrai, et c’est peut-être la seule excuse? Pendant de longs jours encore, nous serons ballotés par des événements mal connus, nous en subirons secrètement le contrecoup, avec l’impression désobligeante, mais sûre, que nous n’y pouvons rien changer. Astruc m’a parlé d’un projet qui, en effet, nous est particulièrement cher. Il semble que d’habituels “bâtons” sont venus se mettre dans nos roues, le même Astruc m’écrivant qu’il y renonce! On aime décidément la musique à Paris. Il y a aussi le projet d’une représentation de Pelléas et Mélisande au profit des blessés, avec ce qu’il reste des créateurs,—Messager conduirait l’orchestre. On cherche à ramener: les décors, les lumières au plus strict, les machinistes étant rares, la fleur des électriciens employés aux “fils barbelés” . . . Vous voyez ce que l’on peut attendre d’une pareille préparation? Nos santés ne sont pas ce qu’il y a de mieux, excepté Chouchou qui a l’air d’une pivoine. Si jamais vous avez quelque liberté (?) n’oubliez pas le chemin d’une maison où l’on pense constamment et affectueusement à vous deux. votre vieux devoué Claude Debussy


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80, Avenue du Bois de Boulogne 3 June 1915 Dear Inghel, You are quite right . . . we do not see each other! Without really knowing why, and maybe that is the sole excuse? For many long days to come, we are going to be shaken up by poorly understood events, we will secretly put up with the effects, with the unpleasant, but certain, impression that we can do nothing to change things. Astruc has spoken to me about a plan that is, indeed, especially precious to us. It appears that the usual “spokes” have been put in our wheels, the same Astruc writing to me that he is abandoning it! They certainly do like music in Paris. There is also a plan for one performance of Pelléas et Mélisande for the benefit of the wounded with what remains of the original cast—Messager would conduct the orchestra. They are trying to pull things together: the scenery, minimum lighting, stagehands being hard to find, the best of the electricians are with the “barbed wire.”. . . Can you picture what one might expect from such a preparation? Our health is not all it might be, save for Chouchou, who looks like a peony. If you ever get any leave (?) don’t forget the road of a certain house in which you both are thought of constantly and affectionately. Your old devoted Claude Debussy

Notes A possible reference to Astruc’s plan for a staged version of Le Martyre de Saint Sébastien is found in a letter Debussy sent to P.-B. Gheusi on 24 November 1915: “I should like to talk to you not about Pelléas, but about a future revival of this interesting work.” On 2 December, Debussy again wrote to Gheusi, this time in reference to the plan to put on just one performance of Pelléas: “Do you know Cousinos? He is now with the Opéra. I think that you were on the jury when he won the first prize at

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the Opéra-Comique. . . . He has a very beautiful voice that would suit the role of Golaud.”1 Inghelbrecht had been called up for military duty while on vacation in Lausanne and was now assigned to the laboratory of the military Hôpital du Val-de-Grâce in Paris. This letter is written on mourning paper, bordered in black.

1

These letters are in The Morgan Library, New York.

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Letter XX 23 Juin - 1915 Cher Inghel, Mademoiselle Garden a l’appendicite; tout porte à croire que ce lapin ne sera pas tué avant la fin de la guerre? Je ne puis donc vous envoyer que des regrets—si vous voulez je les ferais numérotés?— Il faut mieux coucher chez le bon dieu que chez ses saints—a dit l’Ecclésiaste, ainsi, je vous félicite. Nos affectueuses pensées aux Inghel’s au père des Inghel’s, et toujours votre vieux dévoué Claude Debussy


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23 June-1915 Dear Inghel, Miss Garden has appendicitis; everything seems to indicate that this rabbit won’t be hatched before the war is over? Thus I can send you only regrets—if you like I will have them numbered? It is better to lie down in the house of the Lord than in that of His saints—as Ecclesiastes has it, so I congratulate you. Our affectionate thoughts to the Inghels, to the Inghels’ father, and as ever your old devoted Claude Debussy

Notes The soprano Mary Garden was the rare singer for whom Debussy never had anything but praise. On her copy of the 1902 vocal score of Pelléas et Mélisande, he wrote: “To Mary Garden—you alone will forever remain the woman and the artist that I had hardly dared ask for.” His further appreciation of her is found in an article entirely devoted to her which appeared in Musica, January 1908. Debussy was to pay such a tribute to only three other artists: Charles Gounod in 1905, Jules Massenet in 1912, and Jean-Philippe Rameau in 1912. In order to verify the rumors that Mary Garden had appendicitis, Debussy wrote the following letter:

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Notes, continued Monsieur Raymond Geiger Interne à l’hôpital Lariboisière à Paris Pourville 13 Juillet 1915 Monsieur, Vous avez constaté comme moi que l’on n’a pas joué Pelléas et Mélisande. . . . Faut-il croire à l’appendicite de Mademoiselle Garden? Ne me sentant aucun pouvoir de résoudre cette question, je me suis permis de m’en aller vers des endroits où ne fleurit aucun théâtre—par contre on y rencontre beaucoup de blessés. Hélas, c’est toujours le théâtre de la guerre qui fait les plus grosses recettes. Croyez-moi sensible a votre sympathie et à celle de vos amis (impossible d’employer l’épithète “camarades”). Mes cordiales salutations Claude Debussy


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Notes, continued Monsieur Raymond Geiger Intern, Hôpital Lariboisière, Paris Pourville 13 July 1915 Dear Sir, Like myself, you will have noticed that Pelléas et Mélisande has not been performed. . . . Should we or should we not believe in Mademoiselle Garden’s appendicitis? Since I feel unqualified to answer the question, I have taken it upon myself to address those places where no theater is flourishing—where, rather, one encounters many wounded. Alas, the theater of war always seems to play to full houses. Please believe that I am aware of your compassion, and of that of your friends (impossible to employ the term “comrades”). My cordial greetings, Claude Debussy1 ----In a long interview later that year, Mary Garden would admit that she had recovered sufficiently from her recent attack of appendicitis and was able to sing again and that by the end of the year she was planning to give six charity performances at the Opéra-Comique, singing two nights each in Puccini’s Tosca, Gustave Charpentier’s Louise, and Pelléas et Mélisande.

1 This letter is in The Carlton Lake Collection, Harry Ransom Humanities Research Center, the University of Texas at Austin.

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Letter XXI “Mon Coin” Pourville par Dieppe. S.I. Mercredi 28 Juillet 1915 Cher Inghel, Nous sommes partis le 12, et, je ne vous ai pas prévenu, rien n’étant plus ennuyeux que de dire à ceux qui restent: “Ah! vous savez, nous allons à la mer, respirer un air nettoyé de ‘communiqués’ trop brefs et de rencontres ‘fâcheuses’. Quant à vous, continuez!” Nous connaissions, et aimions Pourville, y étant venus il y a quelques années. . . .Ça n’a pas changé. La mer est toujours à la même place, le calme est extraordinaire, ainsi que l’affirme Mr. M. Maeterlinck, ce qui donne à penser qu’il ne connaît rien à la qualité du silence? Les gens sont laids avec assurance; voleurs assurément, mais le pain de ménage y est excellent. Dieppe est devenue une ville toute anglaise, et, à voir la façon dont s’y organisent nos alliés on doit penser que la guerre durera cent ans! . . . Je ne sais si vous êtes comme moi, qui ne prends jamais de bains de mer? C’est trop grand! puis je ne sais pas nager. . . . On se baigne peu ici! La mer en profite pour être admirable: bleue comme une valse; grise comme une plaque de tôle inutilisable; le plus souvent: verte comme la “purée” dont se prive le vieux capitaine. C’est tout de même beau, plus beau que La Mer d’un certain C.D., je le dis moi-même. Je dis aussi que l’on pense souvent à vous et qu’avec mes affectueux souvenirs, vous pouvez me croire toujours votre vieux dévoué Cl Debussy


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“Mon Coin” Pourville par Dieppe. S.I. Wednesday 28 July 1915 Dear Inghel, We left on the 12th, and I didn’t let you know beforehand since nothing is more tiresome than telling those who remain behind: “Ah! You know, we are going to the seaside to breathe air cleansed of unduly terse ‘communiqués’ and boring meetings. As for you, go on.” We already knew and loved Pourville, having been there a few years ago. . . . It hasn’t changed. The sea is still in the same place, it is extraordinarily quiet, as Mr. M. Maeterlinck affirms, which leads one to believe that he knows nothing about the quality of silence? The people are confident in their ugliness; thieves, naturally, but the local bread is excellent. Dieppe has become a completely English town, and from the manner in which our allies have established themselves here, they seem to think that the war will last a hundred years! . . . I don’t know if you are like me, who never goes bathing in the ocean? It is too big! And then, I don’t know how to swim. . . . People swim very little here. The sea thrives on that and is admirable: blue as a waltz, gray as a useless piece of sheet metal; most often green as the “purée” the old captain does without. All the same, it is beautiful, more beautiful than La Mer of a certain C. D., I say so myself. I also say that we think of you often and with my affectionate regards you can believe me always your old devoted Cl Debussy

Notes Debussy had gone to Pourville in July 1904 and again in July 1907. When Debussy asked Maeterlinck for permission to set his play to music, Maeterlinck admitted that he knew nothing about music. Later,

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a serious misunderstanding arose between them when Maeterlinck insisted that his mistress, the singer Georgette Leblanc, create the role of Mélisande rather than Mary Garden, whom Debussy had chosen. Debussy’s wishes prevailed, but relations between them were thereafter strained. It was not until 27 January 1920, in New York City, where Mary Garden was then singing with the Chicago Opera Company, that after the performance she received a long letter of congratulations from Maeterlinck. The term “purée” is slang for absinthe.

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Postcard II [26 Août 1915] “Mon Coin” Pourville, par Dieppe. - S. Inf. Pourquoi pas de réponse à ma réponse? Qu’est-il arrivé? Serait-ce la faute du petit-fils de Mercure ailé, Directeur des P.T.T.? Ça fait trois points d’interrogation de trop pour votre affectueux Cl D Respects autour de vous.


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[26 August 1915] “Mon Coin” Pourville, par Dieppe – S. Inf. Why no reply to my reply? What has happened? Could it be the fault of winged Mercury’s grandson, the Director of the P.T.T.? That makes three questions too many for your affectionate Cl D Regards to all.

Notes This card, which is in color, shows the vocal score of La Brabançonne, the national anthem of Belgium. Inghelbrecht had not answered Debussy’s letter until 20 September. He had been working at the Hôpital Militaire du Val-de-Grâce and was just slow in writing to Debussy. The letters P.T.T. stand for Postes, Télégraphes et Téléphones.

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Letter XXII Pourville. 20 Sept 1915 Mon cher Inghel, Bien reçu votre lettre du 25 courant, comme dit mon marchand de vin. J’y ai pris un extrême plaisir, à cause de ce jardin du Luxembourg que vous décrivez avec une exacte ironie . . . je l’aime tout de même! Il représente une belle époque française, et, si ses promeneurs sont un peu spéciaux, cela vaut mieux, à tout prendre, que l’élégance, trop “cocktail”, des habitués de l’avenue du Bois de Boulogne! Remarquez que ce pauvre Luxembourg n’est pas responsible des affreux monuments dont une édilité artistique s’est plue à l’orner! Mais comme l’allée des Reines est attendrissante? Mon retard vient de ce que [je] réapprends la musique . . . c’est beau, tout de même! C’est même plus beau qu’on ne le pense dans diverses Sociétés: Nationale, Internationale, et autres mauvais lieux. . . . Le total d’émotions que peut donner une mise en place harmonique, est introuvable en quelque art que ce soit! Excusez-moi! J’ai l’air de découvrir la musique, mais, très humblement: c’est un peu mon cas. Nous reviendrons avec regret, et par la gare St Lazare, vers le 12 Octobre! Il va retomber: des trains, des pianistes, dans mes pensées, adieu le beau silence! adieu le bruit innombrable de la mer, qui conseille impérieusement de ne pas perdre son temps! Ne nous plaignons pas; on ne peut toujours être le petit chéri des Dieux! Pensons aux pauvres bougres qui se font casser la figure dans des tranchées où ne règne nul confort moderne. votre vieil ami Cl Debussy . . . Affections autour de vous.


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Pourville. 20 September 1915 My dear Inghel, Received your letter of the 25th instant, as my wine dealer says. I was extremely pleased with it because of the Luxembourg Garden that you describe with a precise irony . . . I like it all the same! It represents a lovely French epoch, and if those who frequent it are a bit old, that is better, after all, than the overly “cocktail” elegance of the habitués of the Avenue du Bois de Boulogne! Of course, the poor Luxembourg is not responsible for the frightful monuments with which the artistic establishment has been pleased to decorate it! But isn’t the Allée des Reines touching? My delay is because I have been relearning music. . . . It is beautiful, all the same! It is even more beautiful than they deem it in the various Societies: Nationale, Internationale, and other such low dens. . . . The sum of emotions a harmonic arrangement can provide cannot be found in any other art! Forgive me! I give the impression that I am discovering music, but, very humbly, that is almost how I feel. We will be returning with regret, via the Gare SaintLazare, about October 12th! Trains and pianists will be breaking into my thoughts; farewell to silence, farewell to the infinite sound of the sea, which peremptorily advises us not to waste our time! We cannot complain; one cannot be forever the cherished child of the gods! Think of the poor devils who are getting banged up in the trenches, so devoid of all modern conveniences. Your old friend Cl Debussy My affectionate regards to your family.

Notes The military hospital where Inghelbrecht was working was at 227 rue Saint-Jacques in the 5th Arrondissement. This was a long way from

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where he lived at 73 rue Caulaincourt in the 18th Arondissement in Montmartre. While walking to his work, he often would pass through the Jardin du Luxembourg, which Debussy knew well; the Allée des Reines is an area in that park.

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Letter XXIII Pourville - 9 Oct. 1915 Mon cher Inghel . . . Quelques mots pour vous dire que vous auriez bien tort de regretter d’avoir écrit votre dernière lettre. . . . Maintenant si c’est pour nous entendre dire qu’elle était charmante, voilà qui est fait. L’heure fatidique du départ avance . . . bruits de marteaux, malles dans les couloirs, Arkel de mauvaise humeur d’être dans une boîte. . . . C’est désolant! J’écrirai jusqu’à la dernière minute, tel André Chenier faisant des vers avant de monter à l’échafaud!—cette comparaison fâcheuse a quelque vérité. À “très bientôt” comme dit l’auteur de la “Très moutarde”. Amitiés autour de vous . . . v. v. d. [votre vieux dévoué] Cl Debussy


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Pourville - 9 Oct. 1915 My dear Inghel . . . A few words to tell you that you would be really wrong to be sorry for having written your last letter. . . . Now if it is for us to say that it was charming, we have done so. The fateful hour of departure draws nigh . . . hammering, trunks in the hall, Arkel in a bad mood for being in a box. . . . It is distressing! I will keep writing until the last minute, like André Chenier making up poems before mounting the scaffold!—this woeful comparison has a certain truth. Until “very soon” as the author of the “Très moutarde” says. Regards to your family . . . y. o. d. [your old devoted] Cl Debussy

Notes Debussy is getting ready to leave Pourville and return to Paris. Arkel is the name that Debussy gave his wooden Chinese toad that he kept on his worktable and always took with him when he went on vacation, saying that he could not work without having Arkel before his eyes. Madame de Tinan told me that one day when Debussy was preparing to leave on vacation and his luggage was being packed, she found the following small note: “Do not put Arkel in the trunk, he does not like that.” (Ne pas mettre Arkel dans la malle il n’aime pas cela.) “Très moutarde” is the English song “Too Much Mustard” (words and music by Cecil Macklin), which was popular at the time.

80


Letter XXIV Mardi 1 Fev. 1916 Cher Inghel, Il y a au Jardin d’acclimatation un animal fort laid qui porte le nom “d’adjudant major”! Je suppose qu’il doit être parent du vôtre? Autrement je continue cette existence dans un rond de caoutchouc que vous savez. On me fait espérer du mieux dans une quinzaine de jours. Mais je n’ai pas beaucoup de confiance, et le Radium abuse un peu du droit d’être mystérieux. Si vous avez un moment venez voir le pauvre invalide et croyez-moi votre vieux dévoué Claude Debussy Mes affectueuses pensées aux vôtres.


81

Tuesday, 1 Feb. 1916 Dear Inghel, At the Jardin d’Acclimatation there is an extremely ugly animal called an “adjudant major”! I imagine that he must be related to yours? Otherwise I am pursuing this life in a rubber ring as you know. They give me hope of some improvement in a couple of weeks. But I haven’t much confidence, and Radium rather abuses its right to be mysterious. If you have a moment come to see the poor invalid and believe me your old devoted Claude Debussy My affectionate regards to your family.

Notes Debussy was being treated for the cancer from which he would later die. Inghelbrecht must have been very pleased that Debussy wanted him to come and visit him. The English equivalent of “adjudant major” is “sergeant.”

82


Letter XXV 80, Avenue du Bois de Boulogne Jeudi 27 Juillet 1916 “Monsieur Inghelbresse est venu demander des nouvelles” . . . Ainsi parla Étienne, maître-d’hotel luxembourgeois Dimanche dernier! mais il n’était plus temps de vous rappeler. . . . D’ailleurs, la maison est mauvaise: ma femme, Chouchou, ont la coqueluche, sale maladie qui s’attrape “plus que vinaigre n’attrape mouches” . . . et je ne pense pas que vous auriez aimé à importer la coqueluche rue Caulaincourt? Enfin, c’est la série à la noire et, ma provision de philosophie est depuis longtemps épuisée. Alors je grogne désespérément, heureusement personne n’est là pour m’entendre, car ce n’est précisément pas joli. . . . Des gens sur la voie, font des travaux de “ballast”, rythmant leur travail de cris inarticulés . . . Si je ne deviens pas enragé, c’est qu’un dieu compatissant, veille sur moi . . . Seulement, j’en ai assez, assez, assez! votre pauvre ami Claude Debussy


83

80, Avenue du Bois de Boulogne Tuesday 27 July 1916 “Mr. Inghelbresse called to ask for news.” . . . Thus said Étienne, a butler from Luxembourg, last Sunday! But there wasn’t time to call you back. . . . Anyway, the household is in a state: my wife and Chouchou have whooping cough, an unpleasant disease that is easier to catch than “flies are attracted by vinegar” . . . and I don’t imagine that you would have enjoyed importing whooping cough to the Rue Caulaincourt? So it’s one dismal thing after another, and my supply of philosophy ran out a long time ago. So I grumble despairingly, fortunately there is no one around to hear me, because it is not particularly attractive. . . . People on the tracks are laying down “ballast,” giving rhythm to their work with wordless shouts. . . . If I don’t go mad, it is because a compassionate god is watching over me. . . . But, I have had enough, enough, enough! Your poor friend Claude Debussy

Notes Debussy had evidently left word with the butler, Étienne, that he did not want to be disturbed, and is now regretting that he had missed seeing Inghelbrecht. The tracks are those of the little train that encircled Paris (petite ceinture), a line that was not far from Debussy’s house.

84


Letter XXVI 10 Sept 1916 Cher ami, Vous devez être revenu . . . ? Nous, nous partons pour Arcachon demain soir—Grand Hôtel, Le Moulleau, Arcachon. Ma femme ne se guérira jamais en restant dans cette maison où: la maladie, les ennuis ont tissé une atmosphère de malheur. Nous resterons à peu près un mois absents. Affirmer que ce voyage m’enchante serait exagéré. Enfin! je ne verrai plus ces deux sempiternels arbres, bouchant obstinément l’horizon; je n’entendrai plus les bons clairons, et je reverrai l’Atlantique qui est le père de toutes les mers. Sincères amitiés autour de vous. votre vieux dévoué Claude Debussy


85

10 Sept. 1916 Dear friend, You must be back . . . ? As for us, we leave for Arcachon tomorrow evening—Grand Hôtel, Le Moulleau, Arcachon. My wife will never get well by staying in this house where sickness and problems have created a doleful atmosphere. We will be away for about a month. It would be exaggerated to say that I am enchanted by this trip. Still! I won’t have to look at these two sempeternal trees, stubbornly blocking the horizon; I will no longer hear the trusty bugles, and I will again see the Atlantic, which is the father of all oceans. Sincere regards to your family. Your old devoted Claude Debussy

Notes Debussy’s only previous visit to Arcachon was in 1880, when he had gone there with Madame von Meck. More than once Debussy wrote about missing the bugles, as in a letter to Jacques Durand of 16 October 1916: “I cannot wait to get back to my old house with all its shortcomings, its annoyances, and its bugles.”1 The bugles were those used by the conductors of the train de ceinture. 1

Debussy, Correspondance, 1884–1917, 372.

86


Postcard III [Arcachon] Vendredi 15 Sept 1916 Pas très loin de là on trouve le Grd Hôtel où nous sommes. C’est un endroit incomparable quant au décor et la lumière, incomparables! Pour l’estomac . . ? Il y a trop de pianos.—J’aimais mieux les clairons. Il me semble que . . . c’est manqué? v. v. d. [votre vieux dévoué] CD Grand Hôtel Le Moulleau Arcachon


87

[Arcachon] Friday 15 Sept. 1916 The Grand Hôtel where we are is not far from here. It is an incomparable place, with regard to the scenery and the light, incomparable! As for the stomach . . . ? There are too many pianos.—I like the bugles better. It seems to me that . . . it is a failure? y. o. d. [your old devoted] CD Grand Hôtel Le Moulleau Arcachon

Notes This postcard shows the beach at Arcachon, on the way to Le-Moulleau. The bugles probably reminded Debussy of home, where he heard them from his study, even though they sometimes annoyed him.

88


Postcard IV [Arcachon, 21 Sept. 1916] Cher Inghel Ci-derrière, la figure de l’hôtel où j’attends impatiemment de vos nouvelles? votre v. d. [vieux dévoué] Cl D


89

[Arcachon 21 Sept 1916] Dear Inghel On the back, the picture of the hotel where I am impatiently waiting for news from you? your o. d. [old devoted] Cl D

Notes This card shows the Grand Hôtel on the edge of the beach at Arachon-le-Moulleau. Inghelbrecht was particularly busy at this time. During the week, he had his work at the hospital laboratory, at home on weekends he was busy sending packages to soldiers at the front and to prisoners of war. All the while, there were air raids and the fear of bombardments. So Debussy was anxious for news from his friend.

90


Letter XXVII [

juillet 1917]

Chalet Habas St Jean de Luz (B. P.) Cher ami, Vous n’aviez pas à vous excuser . . . notre départ a ressemblé— comme toujours, à une fuite! Enfin nous voilà dans ce délicieux pays basque, où il y a tout ce qu’il faut pour être content, si l’on ne traînait après soi cette vieille carcasse, qui ne change que pour être davantage insupportable. Il y a beaucoup d’illustres pianistes dans le pays, parmi lesquels nous trouvons: R. Viñes, J. Nin, Mme M. Long, etc . . . Toutefois, j’ai l’avantage de demeurer dans un endroit écarté où on ne les entend pas. Il est vrai qu’on ne voit pas la mer non plus, et cela: je le regrette amèrement. Le piano trouvé ici, est un instrument curieux qui pratique le repos hebdomadaire. Tantôt en bas, tantôt en haut: certaines touches restent des jours sans vouloir rien savoir. Comme ça n’est jamais en même temps, on peut toujours s’arranger. On peut même n’en pas jouer du tout. Vous avez décidément du goût pour le prosélytisme . . . Personne moins que moi ne peut vous en vouloir. Compter sur moi et rappelez-moi vos deux protégés—je n’ai pas leurs noms sur moi, à la rentrée. —Chouchou en veut à un petit prélude de J. S. Bach en mi maj. Et, tous les matins, j’ose dire qu’elle lui fait passer un mauvais quart d’heure, je me sens incapable de lui en vouloir. Donnez-moi toujours de vos nouvelles—sans vous froisser si je ne réponds pas tout de suite, et comment va votre beaupère? Mes meilleurs souvenirs à Madame D. E. C. Inghelbrecht. votre vieux dévoué Claude Debussy


[

91

July 1917]

Chalet Habas St Jean de Luz (B. P.) Dear Friend, You didn’t need to excuse yourself . . . our departure, as always, was like a flight. But here we are, at last, in this delightful Basque country, where there is all one needs to be happy, were one not dragging after oneself this old carcass, which changes only to become even more unbearable. There are a lot of illustrious pianists in his region, among whom we find R. Viñes, J. Nin, Mme M. Long, etc. . . . However, I have the advantage of staying in a secluded place where one doesn’t hear them. True, one does not see the ocean either, and that I bitterly regret. The piano we found here is a strange instrument that has the habit of taking a weekly rest. Sometimes at the bottom, sometimes at the top: some keys go for days without doing a thing. Since these things never happen at the same time, one can always make do. One can even not play it at all. You have a real taste for proselytism. . . . I would be the last to reproach you. Count on me and remind me of your two protégés—I haven’t their names on me—when we return. —Chouchou bears a grudge against a little prelude by J. S. Bach in E Major. And, each morning, I dare say that she puts it through an unpleasant quarter of an hour; I feel incapable of holding it against her. Keep sending me your news—without getting upset if I don’t reply immediately, and how is your father-in-law? My best wishes to Madame D. E. C. Inghelbrecht Your old devoted Claude Debussy

Notes This is the only letter in which Debussy mentions Inghelbrecht’s protégés, and we can assume that Debussy is going to hear them play.

92


Ricardo Viñes’s collaboration with Debussy was to last for more than ten years. It began in 1901 when Debussy first heard him play and decided to entrust him with the first performance of some of his works. Debussy stipulated, however, that he wanted to hear him play in private before each performance. Among the works that were given their first performance by Viñes are: Pour le piano in 1902, Estampes in 1904, Masques and L’Isle joyeuse in 1905, and Images, series 1 and 2, in 1906 and 1908. Following this last performance, Debussy wrote to Georges Jean-Aubry on 10 April 1908: “One should gently persuade Viñes that he needs a lot of work on these Images. He clearly doesn’t understand the architecture and, in spite of his incontestable virtuosity, he distorts the expression.”1 Following this harsh criticism, Viñes was no longer uniquely entrusted with premieres, though he still premiered several of Debussy’s Préludes in 1911 and 1913. On 19 June 1913, however, at the “Gala Debussy,” Viñes joined Debussy in André Caplet’s arrangement of Ibéria for two pianos. On 23 June, Debussy wrote to Caplet: “I never ceased missing you, for at each sound, the balance of which I know so well, I felt as if I had run against an obstacle! . . . And those tremolos that sounded like the endless movement of pebbles.”2 Joaquin Nin, in his “Message à C. Debussy,” wrote: “When Debussy’s eyes closed forever in the nighttime of death, a sudden anguish created an unappeasable nostalgia in the hearts of Spain’s musicians.”3 Marguerite Long, the well-known pianist, said that on first hearing Debussy’s compositions in 1902, she decided not to play them, as she thought them too difficult. Her first meeting with Debussy was probably in 1914 when, at Emma’s instigation, she had her first lesson with him. However, in spite of her memoirs, which are known to be unreliable, she had few other lessons from him. On 16 November 1917, she gave the first performance of Études 1, 10, and 11 at a concert of the Société Nationale. Debussy never forgets Inghelbrecht’s father-in-law, the artist Théophile Steinlen. “Madame D. E. C. Inghelbrecht” refers to his wife Colette. Shortly after Debussy wrote this letter he returned to Paris. There his illness took a turn for the worse, and he was soon bedridden. Inghelbrecht then visited him regularly and last saw him two days before his death.

1 This letter is in The Carlton Lake Collection, Henry Ransom Humanities Research Center, the University of Texas at Austin. 2 Debussy, Correspondance, 1884–1917, 322–23. 3 “Le Florilège de Claude Debussy,” Festival de Claude Debussy, Théàtre des ChampsÉlysées, 17 June 1932.

Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. To view the image on this page please refer to the printed version of this book.

Figure 1. Claude Debussy in 1909.


Figure 2. D. E. Inghelbrecht, ca. 1908.


Figure 3. Program for Le Martyre de Saint Sébastien, 21 May 1911.


Figure 4. Inghelbrecht rehearsing with Ninon Vallin for her role in Le Martyre de Saint Sébastien.


Figure 5. Inghelbrecht conducts in 1913.


Figure 6. Debussy’s letter of 24 February 1914.


Figure 7. The artist Théophile Alexandre Steinlen, ca. 1920.


Figure 8. Steinlen’s drawing of Debussy for Inghelbrecht’s concert of 31 January 1913.


Figure 9. Emmanuel Chabrier, 1882. © Harlingue-Viollet.


Figure 10. Opening bars of Chabrier’s La Sulamite and Debussy’s La Damoiselle élue.


Figure 11. Modest Musorgsky, ca. 1875.


Figure 12. Title page of Musorgsky’s Nursery, composed in 1870. Photograph from the Music Division, The New York Public Library. Used by permission.


Figure 13. Title page of Debussy’s Children’s Corner, composed in 1906–8.


Figure 14. Title page of Inghelbrecht’s La Nursery, composed in 1905–32.


Figure 15. Inghelbrecht conducts the Orchestre National, 1939. © Lipnitzky-Viollet.

Appendix A

Letter from Inghelbrecht to Debussy

LETTER FROM INGHELBRECHT TO DEBUSSY

95

Inghelbrecht’s Reply to Debussy’s Letter This letter is the only one known to have been written by Inghelbrecht to Debussy and is his answer to Debussy’s last letter to him, that of July 1917 (Letter XXVII).1 That it contributes to our understanding of the relationship that Inghelbrecht had with Debussy—his senior by eighteen years and his mentor for seven years (from 1911 to 1918)—is clearly shown by his form of address: “Mon cher bon Maître” (My dear good Master). Here we learn not only that Inghelbrecht taught students in fields other than conducting or singing, but also that Debussy was still auditioning young artists as late as 1917.

1

This letter is in the Médiathèque, Dole, France.

96


Mon cher bon Maître Ce n’est pas que j’aie la moindre illusion sur le prosélytisme. Non. Les occasions ne m’ont pas manqué de m’apercevoir qu’il servait, le plus souvent, à rapporter des désillusions et des inimitiés. Bien des gens doivent ajouter à mes défauts—suffisamment nombreux, cependant—celui de vouloir coûte que coûte régenter tout ce qui souffle, pince, gratte, tape ou hurle. Et tandis que les gens enclos de toile peinte, sur une estrade consentent encore parfois à se laisser guider plus ou moins docilement, les “personnalités” sont rares qui pensent, après vous avoir quitté “qu’il en soit comme il l’a voulu.” Le jeune Merkel qui, vraiment, joue du violon de façon à me raccommoder avec l’instrument de mon enfance, trop cher à MM. Capet, Touche, Brun et tant d’autres; le jeune Merkel semble vouloir faire autre chose que ces maîtres glorieux. Comme il désire jouer votre Sonate, il m’a prié de la lui faire travailler avant que de vous demander de l’entendre. C’est gentil. La jeune demoiselle Speiser, enfant d’Helvétie, quittant le Conservatoire les bras encore bleus des horions de Dame Chesné, traversa ensuite le gymnase sonore—et combien—de la fille spirituelle (!) de Dieu. Le tout sans coup férir. Une dame qui s’intéresse à elle eut la singulière idée il y a bientôt deux ans, de l’engager à venir me demander avis sur ce qu’elle faisait. Pendant un an je lui ai fait travailler les Sonates de Mozart sur un vieil exemplaire égratigné de la mine de plomb irascible de son premier maître.

Je suis sûr qu’elle aime et comprend la musique et je crois bien qu’elle peut arriver à très bien jouer du piano. Philipp, qui s’intéresse à elle, la fait travailler régulièrement ce qui me paraît être un appoint précieux au point de vue de l’instrument.


97

My dear good Master, Where proselytism is concerned I have no illusions at all. No. I have had ample opportunity to learn that on most occasions it leads to disappointments and hostilities. A great many people would add to my shortcomings— which are indeed numerous enough—that of wanting, at whatever cost, to control everything that breathes, plucks, scrapes, thumps, or shrieks. And whereas people who are on a platform surrounded by painted canvas sometimes more or less obediently allow themselves to be led, there are few “personalities” who, after they have left you, think “that was how he must have wanted it.” The young Merkel, who actually plays the violin in a way that nearly reconciles me with the instrument of my youth of which Messrs. Capet, Touche, Brun, and many others are unduly fond—young Merkel appears to want to do something different from those brilliant masters. Since he wants to play your Sonata, he has asked me to work on it with him before you hear it. Nice of him. Young Miss Speiser, that child of Helvetia, having left the Conservatoire with her arms still bearing the bruises inflicted by Madame Chesné, then traversed the still (and how!) echoing gymnasium of the spiritual(!) daughter of God. All without undue problem. A lady who showed interest in her had the unusual idea, some two years ago, of having her seek my advice on what she was doing. I had her work on the Mozart sonatas for a year, using an old copy scribbled over with the irascible marks of her first teacher.

I am sure that she loves and understands music, and I do think that she may manage to play the piano very well. Philipp, who is interested in her, works with her regularly, which I view as a valuable contribution from the point of view of the instrument.

98


Comme je ne suis pas mal “pratique”—dans le sens que vous donnez à ce mot—je lui fais chaque Dimanche accompagner une jeune apprentie chanteuse qui a une aussi jolie voix qu’elle est mauvaise musicienne.—Je vous en ai aussi parlé à propos du Noël des enfants qui n’ont plus de maisons.—Je laisse mes mains dans mes poches pour le plus grand bien de la musique et, ma bourgeoise et moi, nous nous réjouissons de l’enchantement de la jeune Lucy Speiser découvrant La Damoiselle élue, Les Enfantines, Les Chansons de Bilitis ou Pelléas. Faut bien ça pour compenser un peu la tristesse des bons temps si lointains et de l’avenir tellement incertain. Mon bon Maître excusez-moi je souris de votre énumération des sommités musicales du pays basque, elles n’e-xis-tent pas. Comment pouvez-vous vraiment parler au pays basque, de musiciens basques alors que Radis-noir, notre maître à tous, l’imperceptible béret fièrement campé sur son oreille de musicien basque se bat, passionnément . . . avec le carburateur de sa camionnette. Je vous quitte en m’excusant de cette longue lettre et je vous envoie, pour Madame Debussy et pour vous, notre bien affectueux souvenir. D. E. Inghelbrecht 30.VIII.17 Chouchou a tort d’en vouloir au petit prélude de J. S. Bach, ce n’est vraiment pas aux petits préludes que l’on peut en vouloir!


99

Since I am fairly practical—in your sense of the word— every Sunday I am having her accompany a young student singer whose voice is as pretty as her musicianship is bad. I have also mentioned her to you in connection with the Noël des enfants qui n’ont plus de maisons. I am keeping out of it for the good of music, and my good wife and myself are delighted at the young Lucy Speiser’s enchantment at discovering La Damoiselle élue, Les Enfantines, Les Chansons de Bilitis, or Pelléas. It’s good to have that to compensate somewhat for sorrow over the good times so long gone by and the highly uncertain future. Dear good Master, you will forgive me for smiling over your account of the musical geniuses of the Basque region, they just do not ex-ist. How can you really talk of Basque musicians in the Basque country when Radis-noir (Black Radish), the master of us all, his imperceptible beret proudly perched above his Basque musician’s ear, is passionately dealing with . . . the carburetor of his truck. I close with excuses for this very long letter, and I send both Madame Debussy and yourself our very affectionate wishes. D. E. Inghelbrecht 30 August 1917 Chouchou is wrong to hold a grudge against the little prelude by J. S. Bach, one should not hold a grudge against little preludes.

Notes Isidore Philipp studied piano at the Paris Conservatoire, where he won first prize in 1893. From 1903 to 1934, he held the position of professor there. Les Enfantines, in the list of works that enchanted Lucy Speiser, is a group of songs by Musorgsky. “Radis-noir” is Maurice Ravel, at the time a volunteer at the front.

Appendix B

Letters from Inghelbrecht to d’Annunzio

LETTERS FROM INGHELBRECHT TO D’ANNUNZIO

103

Letters from Inghelbrecht to d’Annunzio We assume from the following two letters that Inghelbrecht had met d’Annunzio in 1911 during the rehearsals of Le Martyre de Saint Sébastien at the Théâtre des Champs-Élysées in May when he was the chorus master. In June 1912, Inghelbrecht invites d’Annunzio to attend the rehearsals and concerts of the version of Le Martyre in the form of an oratorio that he had arranged with Debussy’s approval and presumably also that of d’Annunzio. The first rehearsal on Wednesday 12 June was to be prior to the first performance on Friday the 14th. The second rehearsal was to be on that same Friday for the final performance on Monday the 17th.

104


Letter I Mon cher Maître, Mes Camarades du Comité de la S.M.I. et moi serons très honorés si vous voulez bien assister à nos deux concerts d’orchestre; s’il vous était agréable d’assister aux dernières répétitions d’ensemble de Saint Sébastien j’en serai personnellement très heureux et très fier. Les deux dernières répétitions auront lieu à la Salle Gaveau—Mercredi 12 à 10 heures 30 et le Vendredi 14 à la même heure. Veuillez recevoir, mon cher Maître, l’hommage respectueux de mon dévouement, de ma grande admiration. D. E. Inghelbrecht 2 - 6 - 12 [Lettre sur papier à en-tête: SOCIÉTÉ MUSICALE INDÉPENDANTE I-Gardone, Vittoriale, IX/3]


105

My dear Master, My colleagues on the S.M.I. Board and I will be very honored if you will attend our two orchestral concerts; I myself would be personally be very happy and proud should you also wish to attend the last full rehearsals for Saint Sébastien. The two final rehearsals will take place at the Salle Gaveau— Wednesday the 12th at 10:30 and Friday the 14th at the same time. Please accept, dear Master, this respectful expression of my devotion and great admiration. D. E. Inghelbrecht 2 - June - 12 [On the letterhead stationery of the Société Musicale Indépendante.]

106


Letter II Mon cher Maître, Votre si aimable lettre m’est remise seulement aujourd’hui, parce que recommandée, j’ai dû l’aller chercher à la poste car j’étais absent les deux jours qu’elle fut présentée chez moi; je m’excuse donc d’avoir tardé, involontairement, à vous répondre. Nous répétons demain matin Mercredi à 10 heures 1/2 Salle Gaveau, j’espère le grand honneur, le plaisir de votre venue parmi nous. Mes Camarades du Comité et moi sommes profondément touchés, mon cher Maître, du désir que vous avez de “remplir vos devoirs de sociétaires.” Nous ferons déposer demain suivant votre demande le coupon de loge pour les deux concerts et votre carte de sociétaire à l’Hôtel Meurice. Veuillez recevoir, mon cher Maître, l’hommage de mes sentiments de très respectueuse sympathie et de grande admiration. D. E. Inghelbrecht 11 Juin 12 [Lettre sur papier à en-tête: SOCIÉTÉ MUSICALE INDÉPENDANTE I-Gardone, Vittoriale, XI/3]


107

My dear Master, I did not receive your very kind letter until today; since it was sent registered mail, I had to go to the post office to get it because I was away the two days when it was delivered to my home; excuse me for my unintentional delay in replying to you. We will be rehearsing tomorrow morning, Wednesday, at 10:30 a.m., Salle Gaveau, I do look forward to the great honor, to the great pleasure of having you there with us. My colleagues on the Board and I are deeply touched, dear Master, by your wish to “take up the duties of membership” in the Société. In line with your request, we will have a pass for a loge for the two concerts and your membership card delivered to you at the Hotel Meurice. Please accept, dear Master, this expression of my most respectful sympathy and great admiration. D. E. Inghelbrecht 11 June 1912 [On the letterhead stationery of the Société Musicale Indépendante]

Notes S.M.I. is the Société Musicale Indépendante.

Appendix C

Letters from Chouchou Debussy to Inghelbrecht

110

LETTERS FROM CHOUCHOU DEBUSSY TO INGHELBRECHT

Letters from Chouchou Debussy to D. E. Inghelbrecht Letter I Cher Monsieur, Je vous remercie mille fois des jolies petites fleurs jaunes et blanches que vous m’avez envoyées. Mama adore les grands pavots rouges et vous en remercie. Je vous envoie ainsi qu’à Madame Inghelbrecht mes meilleurs baisers. Chouchou [26 Mai 1913]


111

Dear Monsieur, Thank you a thousand times for the pretty yellow and white flowers you sent me. Mother loves the big red poppies and thanks you for them. I send my best kisses to you and Madame Inghelbrecht. Chouchou [26 May 1913]

112


Letter II 19 Janvier 1914 Cher Monsieur, Je vous remercie beaucoup de votre aimable invitation. J’espère bien vous voir Vendredi et je vous embrasse de tout mon coeur ainsi que Madame Inghelbrecht. Chouchou Debussy


19 January 1914 Cher Monsieur, Thank you very much for your kind invitation. I will look forward to seeing you Friday and I embrace both you and Madame Inghelbrecht with all my heart. Chouchou Debussy

113

Biographies Albert I (1875–1934). King of the Belgians from 1909 to 1934. Debussy composed the Berceuse héroïque in December 1914 for a book in honor of the king and his soldiers. Annunzio, Gabriele d’ (1863–1938). Italian poet and author of dramatic works who lived in France for many years, where he was much appreciated. Author of the mystery play Le Martyre de Saint Sébastien, for which he asked Debussy to compose the music. Ari, Carina (Karin Jansson, 1897–1970). Swedish ballet dancer, star of the Ballet Suédois. She gave up dancing in 1939 and embarked on a career as sculptress. She and D. E. Inghelbrecht were married in 1925. They were later divorced. Astruc, Gabriel (1874–1936). Impresario and critic who was influential in many artistic ventures in Paris at the turn of the century. He played an important role in Inghelbrecht’s early career and in the production of Le Martyre de Saint Sébastien. Bardac, Raoul (1881–1950). Son of Emma Debussy by her earlier marriage to Sigismond Bardac. Raoul, an amateur musician, studied at the Conservatoire, then with Fauré and later with Debussy, with whom he was more a disciple than a student. In 1903, he introduced his mother to Debussy. Brussel, Robert (1874–1940). Music critic of Le Figaro. Collaborator and friend of Gabriel Astruc, who appointed him director of music studies at the Théâtre des Champs-Élysées. His article “Claude Debussy et Paul Dukas” is found in La Revue Musicale, 1 May 1925. Camondo, Isaac de (1851–1911). Financier and patron of the arts. He was a longtime friend of Gabriel Astruc and sought in composition relaxation from his financial affairs. It was largely due to his assistance that Astruc was able to build the Théâtre des Champs-Élysées. Caplet, André (1878–1925). Composer and conductor. Winner of the Prix de Rome in 1901. He met Debussy in 1907, and they soon became good friends. In 1911, Debussy, pressed for time to complete Le Martyre de Saint Sébastien, asked Caplet to help with the orchestration. Caplet completed most of the orchestration of acts 2 and 4.

116

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Chabrier, Emmanuel (1841–1894). Composer born deep in the heart of France with an inimitable sense of humor. He showed an early talent for music, but devoted himself full time to music only in 1880. His bestknown works are comic operas (L’Étoile and Le Roi malgré lui), works for orchestra (España) and for chorus and orchestra (La Sulamite and À la Musique), piano pieces (Dix Pièces pittoresques), and songs. He was a composer whom Debussy truly admired. Chadeigne, Marcel (1876–1960). Accomplished pianist who was greatly admired by Debussy for his style and musicianship. In 1902, he played La Damoiselle élue for Inghelbrecht; it was the first time Inghelbrecht had heard a work by Debussy. It left a lasting impression on him. Chenier, André (1762–1794). Lyric poet regarded by some as the foremost poet of French classic verse. He was guillotined for his political opinions. The complete edition of his works was not published until after his death. Chevillard, Camille (1859–1923). Composer and conductor. A fellow student with Debussy at the Conservatoire. In 1889, he succeeded his father-in-law as conductor of the Concerts Lamoureux, which joined the Concerts Colonne in 1915. He gave several first performances of Debussy’s compositions. Debussy, Chouchou (Claude-Emma, 1905–1915). Chouchou was the nickname of Debussy’s daughter, to whom he was very devoted. He dedicated Children’s Corner to her in 1908. Debussy, Emma (née Moÿse, 1862–1935). She had two children by her first husband, Sigismond Bardac: Raoul and Hélène Régina (Mme Gaston de Tinan), known as Dolly. She and Bardac were divorced in 1905, and she and Debussy were married in 1908. She was a cultivated musician and singer. Domergue, Charles (1865–1935). Violinist and composer who founded the Concerts Domergue in 1905. The repertoire of these concerts was limited to contemporary music. Dukas, Paul (1865–1935). Composer and professor of composition. He and Debussy met as students at the Conservatoire, and he became one of Debussy’s close lifelong friends among contemporary musicians as well as his staunch supporter. He is best remembered for L’Apprenti sorcier; his other works include the opera Ariane et Barbe-Bleue and the ballet La Péri. Durand, Jacques (1865–1929). Debussy’s sympathetic, sometimes demanding, and exclusive publisher from 1905 to 1917, as well as his good friend.

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Erlanger, Camille (1863–1919). Composer who won the Prix de Rome in 1888. In addition to songs, he composed numerous operas, including Aphrodite, based on a novel by Pierre Louÿs. Mary Garden sang the title role at its première on 27 March 1906 at the Opéra-Comique. Etlin, Henri (1886–1951). Concert pianist and skilled caricaturist. He entered the Conservatoire in 1903 and won the Premier Prix in 1907. He made his debut in America in 1909 and subsequently traveled widely in Europe as well as giving concerts in the principal cities in France. At a concert in Paris in 1911, he played several Debussy Préludes in the presence of the composer. Fauré, Gabriel (1845–1924). Composer, organist, teacher, and director of the Conservatoire from 1905 to 1920. Best known for his songs, piano music, chamber music, and Requiem. A frequent visitor at the home of Mme Emma Bardac, Fauré dedicated La Bonne Chanson to her and Dolly to her daughter Hélène. Fuller, Loïe (1862–1928). American dancer who moved to Paris in 1891, where she became known for her costumes and the lighting effects she used. She is best remembered for her dancing with large veils. In 1908 she founded her own school of dance. Garden, Mary (1874–1967). Scottish soprano whom Debussy chose to create the role of Mélisande in 1902. She made her American debut in New York in 1907. The 1903 edition of the Ariettes oubliées bears the dedication: “For Miss Mary Garden, unforgettable Mélisande, this music (already somewhat old) in affectionate and grateful homage. Claude Debussy.” Gheusi, Pierre-Barthélemy (1869–1943). Author of novels, comedies, and historical studies. Director of the Opéra-Comique 1914–18 and 1932–36. Godet, Robert (1866–1950). Swiss journalist and musicologist, an erudite scholar with an encyclopedic memory. He met Debussy in 1888, and they soon became lifelong friends. Jean-Aubry, Georges (1882–1949). Writer and music critic who traveled extensively in Europe to introduce French contemporary music. He wrote the Introduction to Claude Debussy, Lettres à deux amis . . . Robert Godet et G. Jean-Aubry (Paris: J. Corti, 1942). Lacome d’Estalenx, Paul (1830–1920). Composer of operettas and songs and a close friend of Chabrier. “Estudiantina” is one of six Spanish songs from his Duos à deux voix égales. Lalo, Édouard (1832–1892). Composer, violinist, and teacher best known for his Symphonie espagnole, opera Le Roi d’Ys, and ballet Namouna.

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Lamy, Fernand (1881–1936). Composer and conductor who is best remembered as a co-founder with Inghelbrecht of the Association Chorale de Paris (A.C.P.). Long, Marguerite (1874–1966). Well-known pianist who won the Grand Prix du Conservatoire, where she taught from 1906 to 1940. In 1941, she founded her own school in Paris. Debussy coached her in some of his piano works in 1914 and 1917, though her later memoirs (Au Piano avec Claude Debussy) tend to exaggerate her role. Maeterlinck, Maurice (1862–1949). Belgian writer, poet, and dramatist. Author of the play Pelléas et Mélisande (1892). Author of eleven more plays. Winner of the Nobel Prize for Literature in 1911. His only text written specifically for a musical setting was Ariane et Barbe-Bleue, set by Paul Dukas. Marinetti, Emilio (1876–1944). Italian poet and writer who founded the Futurist movement in literature in 1911. Messager, André (1853–1929). Conductor and composer of light operas. Music director of the Opéra-Comique (1898–1902), artistic director of Covent Garden (1901–6), co-director of the Paris Opéra (1907–13). He played an important role in obtaining acceptance of Pelléas et Mélisande at the Opéra-Comique and conducted the first performance on 30 April 1902. Monteux, Pierre (1876–1964). Studied violin at the Conservatoire. He conducted the first performance of Jeux with the Ballets Russes on 15 May 1913 at the Théâtre des Champs-Élysées. He conducted various symphony orchestras in Europe and the United States from 1919 to 1964. Musorgsky, Modest (1839–1881). Showed musical talent at an early age but never received any formal musical education. From 1867 to 1880, he held a post as a civil servant, during which time he composed Boris Godunov. His other compositions include Night on Bald Mountain; the song cycles Nursery, Sunless, and Songs and Dances of Death; the opera Khovanshchina; and Pictures at an Exhibition. Nin, Joaquin (1879–1949). Cuban composer and pianist who studied in Barcelona before going to Paris in 1902. He studied there at the Schola Cantorum and returned to Havana in 1939. Orléans, Charles d’ (1394–1465). Member of the royal family and unrivaled master of rondeaux and ballades. His poems reflect a certain melancholy to which Debussy responded; he referred to the poet as “mon oncle Charles d’Orléans.” Pierné, Gabriel (1863–1937). Composer, conductor, and organist. A fellow student with Debussy at the Conservatoire, he won the Prix de

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Rome in 1882. He made his debut as conductor at the Concerts Colonne in 1903. His best known composition is the ballet Cydalise et le Chèvre-Pied. Rubinstein, Ida (1885–1960). Russian dancer and one-time pupil of Fokine. She was better appreciated for her pantomimes than for her dancing. She had the lead role in Le Martyre de Saint Sébastien. Saint-Saëns, Camille (1835–1921). Composer, conductor, pianist, and organist (at the Madeleine, 1857–75). He is best remembered for his opera Samson et Dalila and symphonic works including Danse macabre, symphonies, and concertos, as well as the celebrated Carnival des animaux. According to Louis Laloy, Saint-Saëns stayed in Paris longer than usual in June 1902 in order to speak ill of Pelléas et Mélisande. Samazeuilh, Gustave (1877–1967). Composer and critic. He transcribed more than 100 orchestral works for piano, chiefly those of French composers, including Debussy’s Nocturnes. Satie, Erik (1866–1925). Early on he frequented the Montmartre cafés where he worked as a pianist. It was there that he met Debussy. Later, he studied for a short time at the Conservatoire and at the Schola Cantorum. He soon became acquainted with members of the artistic world, where his music was to influence many composers. For many years he was a close friend of Debussy. Among his many compositions, which date from 1887 to 1920, are piano works, songs, the ballets Relâche and Parade, and the cantata Socrate. Schmitt, Florent (1870–1958). Composer who studied at the Conservatoire; he won the Prix de Rome in 1900. His works include Psaume XLVII and La Tragédie de Salomé. Steinlen, Théophile Alexandre (1859–1923). Artist born in Lausanne who came to Paris in 1881, where he became a French citizen. Best known for his many posters, lithographs, and drawings of everyday life in Montmartre. He also illustrated books and periodicals. Antole France called him “le peintre incomparable pour exprimer la souffrance et la joie qui passe.” (The incomparable painter for expressing passing sufferings and passing joys.) Strauss, Richard (1864–1949). According to Debussy, he was “one of the most indisputable geniuses of our time.” Tinan, Dolly de (née Hélène Régina Bardac, 1892–1985). She was Emma Debussy’s daughter by Emma’s previous marriage to Sigismond Bardac. Dolly was a faithful defender of Debussy’s works and was always glad to receive all those interested in the composer. Vallin, Ninon (1886–1961). French soprano much appreciated by Debussy, who insisted that she sing the leading role in Le Martyre de Saint

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Sébastien. She went on to have a very successful career as a singer of operas and songs. Viñes, Ricardo (1875–1943). Catalan pianist who moved to Paris in 1887 where he won the Grand Prix du Conservatoire in 1894. He had an exceptional technique, a large repertory, and was principally known for performing the music of his French and Spanish contemporaries. He gave several first performances of Debussy’s compositions. Vuillermoz, Émile (1878–1960). Author, musicologist, and music critic. He was instrumental in creating the Société Internationale de Musique (S.I.M.) and was editor-in-chief of its journal, to which Debussy contributed articles from November 1912 to March 1914. Wagner, Richard (1813–1883). According to Debussy, he was “a beautiful sunset that has been taken for a sunrise.” Waldteufel, Émile (1837–1915). Court pianist of the Empress Eugénie and conductor of the state balls. He composed almost 300 waltzes. His orchestral waltz “Estudiantina,” is based on a vocal duet by Paul Lacome d’Estalenx.

Bibliography Correspondence Annunzio, Gabriele d’. Debussy et d’Annunzio: Correspondance inédite. Edited by Guy Tosi. Paris: Denoël, 1948. Caplet, André. Lettres inédites à André Caplet (1908–1914). Collected and edited by Edward Lockspeiser. Monaco: Éditions du Rocher, 1957. Debussy, Claude. Correspondance, 1884–1918. Collected and annotated by François Lesure. Paris: Hermann, 1993. ———. Lettres à deux amis: Soixante-dix-huit lettres inédites à Robert Godet et G. Jean-Aubry. Paris: J. Corti, 1942. ———. Lettres de Claude Debussy à sa femme Emma. Edited by Pasteur Vallery-Radot. Paris: Flammarion, 1957. Doret, Gustave. “Neuf lettres et billets inédits de Claude Achille Debussy.” Edited by Gustave Doret. Lettres romandes. Genève, Novembre, 1934. Durand, Jacques. Lettres de Claude Debussy à son éditeur. Edited by Jacques Durand. Paris: Durand, 1927. Godet, Robert. Lettres à deux amis: Soixante-dix-huit lettres inédites à Robert Godet et G. Jean-Aubry. Paris: José Corti, 1945. Laloy, Louis. “Correspondance de Claude Debussy et de Louis Laloy (1902–1914).” Revue de musicologie, special number edited by François Lesure (1962). Louÿs, Pierre. Correspondance de Claude Debussy et Pierre Louÿs. Edited and annotated by Henri Borgeaud. Paris: José Corti, 1945. Messager, André. L’Enfance de “Pelléas”: Lettres de Claude Debussy à André Messager. Collected and annotated by Jean André-Messager. Paris: Dorbon-Ainé, 1938. Peter, René. Claude Debussy. Edition augmented by several chapters and unpublished letters of Claude Debussy. Paris: Gallimard, 1944. Toulet, Paul-Jean. Correspondance de Claude Debussy et P.-J. Toulet. Paris: Le Divan, 1929.

122 BIBLIOGRAPHY

General Astruc, Gabriel. Le Pavillon des fantômes. Paris: Bernard Grasset, 1929. Barraqué, Jean. Debussy. Edited by François Lesure. Paris: Éditions du Seuil, 1994. Brussel, Robert. “Claude Debussy at Paul Dukas,” La Revue musicale, La Jeunesse de Claude Debussy (May 1926): 92–109. Chimènes, Myriam. Mécènes et musiciens: Du salon au concert à Paris sous e la III République. Paris: Fayard, 2004. Cobb, Margaret G. Discographie de l’oeuvre de Claude Debussy, 1902–1950. Geneva: Minkoff, 1975. ———. The Poetic Debussy. 1982. Revised edition. Rochester, N.Y.: University of Rochester Press, 1994. Debussy, Claude. Debussy on Music. Introduced by François Lesure. Translated and edited by Richard Langham Smith. New York: Knopf, 1977. ———. Monsieur Croche et autres écrits. Introduction and notes by François Lesure. Revised edition. Paris: Gallimard, 1987. Delage, Roger. “Debussy et Chabrier.” Cahiers Debussy, no. 17–18 (1993–94): 57–64. Dietschy, Marcel. La Passion de Claude Debussy. Neuchâtel: À La Baconnière, 1962. English translation as: A Portrait of Claude Debussy. Edited and translated by William Ashbrook and Margaret G. Cobb. Oxford: Oxford University Press, 1990. Doret, Gustave. Temps et contretemps: Souvenirs d’un musicien. Fribourg: Éditions de la Librairie de l’Université, 1942. Dukas, Paul. Les Écrits de Paul Dukas sur la musique. Paris: SEFI, 1948. Godet, Robert. “En marge de la marge,” La Revue musicale (1 May 1926): 51–86. Howat, Roy. “Chabrier par Debussy.” Cahiers Debussy, no. 19 (1995): 79–91. Inghelbrecht, Germaine. D. E. Inghelbrecht et son temps. Neuchâtel: Éditions de la Baconnière, 1978. Inghelbrecht, Germaine, and D. E. Inghelbrecht. Claude Debussy. Paris: Costard, 1953. Lesure, François. Claude Debussy: Biographie critique. Paris: Klincksieck, 1994. Lockspeiser, Edward. Debussy. New edition with revisions and preface by Richard Langham Smith. London: J. M. Dent & Sons, Ltd., 1980. Long, Marguerite. Au Piano avec Debussy. Paris: Billaudot, 1960.

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Martins, José Eduardo. “La Vision de l’univers enfantin chez Moussorgsky et Debussy.” Cahiers Debussy, no. 9 (1985): 3–16. Mussat, Marie-Claire. “Rennes, capitale musicale de la France pendant la ‘drôle de guerre.’ ” In La Vie musicale sous Vichy, edited by Myriam Chimènes, 355–70. Brussels: Éditions Complexe, 2001. Orledge, Robert. Debussy and the Theatre. Cambridge: Cambridge University Press, 1982. Samazeuilh, Gustave. Musiciens de mon temps. Paris: Éditions Marcel Daubin, 1947. Turnbull, Michael T. R. B. Mary Garden. Portland, Ore.: Amadeus Press, 1997. Vallas, Léon. Claude Debussy et son temps. Paris: Albin Michel, 1958. Viñes, Ricardo. Revue Internationale de Musique Française. lère année— No 2—Juin 1980. Dossier: Le Journal inédit de Ricardo Viñes, edited by Nina Gubisch, 221–236. Genève: Slatkine, 1980.

Discography All recordings are Compact Disc releases unless otherwise indicated.

D. E. Inghelbrecht Conducts Debussy Pelléas et Mélisande. Micheline Grancher (s), Jacques Jansen (b), Solange Michel (ms), Françoise Ogéas (s), Michel Roux (b), André Vessières (bs), Marcel Vigneron (bs), Chœurs de la Radio Télévision Française. Chorus master, Jeanne Baudry-Godard. (rec. 1962) Le Martyre de Saint Sébastien. Ethel Sussman (s), Christiane Gayraud, Solange Michel (c), André Falcon (narrator). Chœurs de la Radio Télévision Française. Chorus master, Jeanne Baudry-Godard. (rec. 1960) La Damoiselle élue. Yoshiko Furusawa (s), Freda Betti (speaker). Chœurs de la Radio Télévision Française. Chorus master, Jean-Paul Kreder. (rec. 1957) Marche écossaise. (rec. 1958) Prélude à l’Après-midi d’un faune. (rec. 1962) La Mer. (rec. 1962) Trois Nocturnes (Nuages, Fêtes, Sirènes). Chœurs de la Radio Télévision Française. Chorus master, Jeanne Baudry-Godard. (rec. 1960) Orchestre National de la RadioDiffusion Française Montaigne “Archives” V 4857 Prélude à l’Après-midi d’un faune. Fernand Dufrène (fl). (rec. 1953) Trois Nocturnes (Nuages, Fêtes, Sirènes). Chorale Marcel Briclot. (rec. 1953) Marche écossaise. (rec. 1953) Jeux—poème dansé. (rec. 1957) La Damoiselle élue. Madeleine Gorge (s), Jacqueline Joly (ms). Chœurs et Maîtrise de la Radiodiffusion Française. (rec. 1953) Orchestre National de la Radiodiffusion Française. Testament SBT 1212 La Mer. Orchestre National de la Radiodiffusion Française. (rec. 1954) Images pour orchestre: Gigues, Ibéria, Rondes de Printemps. Orchestre National de la Radiodiffusion Française. (rec. 1957, 1954, 1957) Trois Chansons de Charles d’Orléans: I, II (Freda Betti, c), III. Chorale Symphonique de la Radiodiffusion Française. (rec. 1957)

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Noël des enfants qui n’ont plus de maisons (orchestration by D. E. Inghelbrecht). Madeleine Gorge (s). Orchestre National de la Radiodiffusion Française. (rec. 1953) Testament SBT 1213 Trois Ballades de François Villon. Bernard Plantey (b). (rec. 1957) Le Martyre de Saint Sébastien. (Concert version by D. E. Inghelbrecht.) André Falcon (speaker), Claudine Collart (s), Jeannine Collard, Christiane Gayraud ©. Chœurs et Maîtrise de la Radiodiffusion Française. Orchestre National. (rec. 1955) Testament SBT 1214 Inghelbrecht’s Last Recording of Pelléas et Mélisande (He considered it his best) Pelléas et Mélisande. Micheline Grancher (s), Camille Maurane (b), Marie-Luce Bellary (ms), Françoise Ogéas (s), Jacques Mars (b), André Vessières (bs), Marcel Vigneron (bs). Chœurs de l’O.R.T.F. Chorus master, Jeanne Baudry-Godard. Orchestre National de l’O.R.T.F. (rec. 12 March 1963 at the Théâtre des Champs-Élysées) Barclay Inédits (LP) ORTF 99514/15/16 (Originally issued in a private printing of 200 copies; Barclay release early 1970s?)

D. E. Inghelbrecht Conducts Ravel, Maurice Daphnis et Chloé—ballet. (rec. 1954) Ma Mère l’oye—suite. (rec. 1955) Chœurs et Orchestre National de la Radiodiffusion Française Testament SBT 1264 Berlioz, Hector Le Carnaval romain—Overture, Op. 9. (rec. 1956) La Damnation de Faust—excerpts. (rec. 1956) London Philharmonic Orchestra Bizet, Georges Carmen—excerpts. (rec. 1954) Delibes, Léo Lakmé—excerpts. (rec. 1954) Ravel, Maurice Une Barque sur l’océan. (rec. 1955) Rapsodie espagnole. (rec. 1955)

D. E. INGHELBRECHT: A DISCOGRAPHY

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Orchestre National de la Radiodiffusion Française Testament SBT 1265 Fauré, Gabriel Shylock, Op. 57. Henry Legay (t). (rec. 1955) Pelléas et Mélisande, Op. 80. Fernand Dufrène (fl solo). (rec. 1955) Cantique de Jean Racine, Op. 11. (rec. 1956) Requiem, Op. 48. Françoise Ogéas (s), Bernard Demigny (b), Jeanne Baudry-Godard (organ). (rec. 1955) Chœurs et Orchestre National de la Radiodiffusion Française Testament SBT 1266 Bizet, Georges Carmen. Germaine Cernay (s), Ginette Guillamat (s), Raymond Berthaud (t), Lucien Lovano (b). (rec. 1942) L’Arlésienne: Suite no. 2. Agnus Dei. Carlo Cabriani (t). (rec. 1953–57) Orchestre National Malibran-Music CDRG 172 (2 CDs)

D. E. Inghelbrecht as Composer Requiem. Christiane Eda-Pierre (s), Rémy Corazza (t), Bernard Kruysen (b), Jeanne Baudry-Godard (organ). Maîtrise de l’O.R.T.F. Vézelay—Évocations symphoniques. Bernard Demigny (b). Orchestre National et Chœurs de l’O.R.T.F. Jean Fournet (conductor). (rec. 1966) A. Charlin AMS 88–2 La Nursery (36 pieces for piano 4-hands). Daniel Blumenthal, Robert Groslot (piano 4-hands). Pastourelles (for piano solo). Daniel Blumenthal (piano). (rec. 1992) Etcetera KTC 115 Sonatine (flute and harp). Robert Aiken (fl), Erica Goodman (h). (rec. 1993, Elora, Ontario, Canada) BIS CD 650 Sonatine (flute and harp). Martina Wahn (fl), Fabeana Tranit (h). (rec. ?) Note BR 100 174

Index Albert I, King of the Belgians, 54, 55, 115 Annunzio, Gabriele d’, xviii, 10, 11, 103–7, 115 Ari, Carina, xviii, 6, 115 Association Chorale Profesionnelle de Paris (A.C.P.), 5, 24, 25, 43, 47 Astruc, Gabriel, 4, 11, 25, 28, 29, 37, 55, 60, 61, 115; letter from Emma Debussy, 12, 13 Bach, Johann Sebastian, 47; little prelude in E Major, 90, 91, 98, 99 Ballets Russes, 11 Ballets Suédois, 6 Bardac, Raoul, 28, 29, 50, 51, 115; Heures, 29 Beethoven, Ludwig van: “Pastorale” Symphony, 56; Symphony No. 9, 55–56 Blanche, Jacques-Émile, 46, 47 Borgeaud, Henri, xvii Borodin, Alexander, 47 Brabançonne, La, 73 Brun (violinist), 96, 97 Brussel, Robert, 37, 115 Calvaire d’une Reine, Le, 54, 55 Camondo, Isaac de, 4, 115; Le Clown, 4 Capet, Lucien, 96, 97 Caplet, André, 6, 11, 56, 92, 115 Carré, Albert, 4 Centre de Documentation Claude Debussy, xvi Chabrier, Emmanuel, 5, 7, 116; À la Musique, 5, 7, 25–26;

L’Étoile, 7, 26; Gwendoline, 26; La Sulamite, xvii, 28, 29, 30 Chadeigne, Marcel, 11, 116 Charpentier, Gustave: Louise, 67 Chenier, André, 78, 79, 116 Chesné, Mme, 96, 97 Chevillard, Camille, 54, 55–56, 116 Chicago Opera Company, 70 Cléopâtre (ballet), 11 Concert Domergue, 13, 14, 15, 16, 17 Concerts Berlioz, 3 Concerts de l’Opéra, 3 Conservatoire (Paris), 3 Cousinos, 61–62 Debussy, Chouchou, xviii, 50, 51, 52, 54, 55, 60, 61, 82, 83, 90, 91, 98, 99, 116; letters to Inghelbrecht, 110–13 Debussy, Claude: friendship with Inghelbrecht, xviii, xix, xx, 5; illness, final, 5–6, 80, 81, 92; trips, 41, 45, 48, 49, 68, 69, 72–75, 78, 79, 84–89 Works: Berceuse héroïque, 56; La Boîte à joujoux, 6; Les Chansons de Bilitis, 98, 99; La Damoiselle élue, 30, 34, 35, 98, 99; Danseuses de Delphes, 49; Estampes, 92; Études for piano, 92; Fêtes, 5, 49, 56; La Fille aux cheveux de lin, 49; Gigues, 56; Ibéria, 5, 32, 33, 56; Ibéria, Caplet’s arrangement for two pianos, 92; Images, 92; L’Isle joyeuse, 92; Jeux, 56; Marche écossaise, xviii, 5, 34, 35, 40, 41, 49; Le Martyre de Saint Sébastien, xviii, 4, 7, 11, 13, 61, 103;

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INDEX

Debussy, Claude: (continued) Le Martye de Saint Sébastien, Inghelbrecht’s arrangement, xviii, 4, 11, 18, 19, 21, 22, 23, 103–7; Masques, 92; La Mer, xvii, 41, 49, 56, 68, 69; Nocturnes, 41, 49, 56; Noël des enfants qui n’ont plus de maisons, 98, 99; Nuages, 5, 49, 56; Pelléas et Mélisande, 3, 7, 60, 61–62, 65, 66, 67, 98, 99; Petite Suite, 56; Pour le piano, 92; Prélude à L’Après-midi d’un faune, 25, 41, 49; Préludes for piano, 49, 92; La Puerta del Vino, 49; Rapsodie for clarinet and orchestra, 41; Rondes de printemps, 49; Sirènes, 13, 14, 15; Sonata, violin and piano, 96, 97; Trois Chansons de Charles d’Orléans, 25, 47 Debussy, Emma, 11, 49, 50, 51, 82, 83, 84, 85, 92, 98, 99, 110, 111, 116; letter to Gabriel Astruc, 12, 13 Debussy, Victorine, 58, 59 Diaghilev, Serge, 11 Dietschy, Marcel, xix Domergue, Charles, 116 Dukas, Paul, 25, 26, 116; L’Apprenti sorcier, 25 Durand, Jacques, 49, 56, 85, 116 Erlanger, Camille, 50, 51, 117 Etlin, Henri, 117 Farrar, Geraldine, 4 Fauré, Gabriel, 7, 25, 117; La Naissance de Vénus, 25 Fuller, Loïe, 5, 117 Garden, Mary, 64, 65, 66, 67, 70, 117 Geiger, Raymond, 66, 67 Gheusi, Pierre-Barthélemy, 61, 117 Godet, Robert, 52, 117 Gounod, Charles, 65 Grieg, Edvard, 47 Hahn, Reynaldo, 47

Indy, Vincent d’, 25; Le Camp de Wallenstein, 25 Inghelbrecht, Désiré-Emile: Association Chorale Professionale (A.C.P.), founded, 5; Ballets Suédois, appointed conductor of, 6; books, 8; Concerts Pasdeloup, appointed conductor of, 6; Concerts Pleyel, founded, 6; as chorus master, 4, 11, 14, 15, 25, 103; as conductor, 4, 5, 6, 7, 8, 25, 37–38, 41, 47; early life, 3; education, 3; Entretiens autour d’un piano, xvi, 7; friendship with Debussy, xviii, xix, xx, 5; letter to Debussy, 96–99; marriages, 4, 6; military service, 52, 62, 73, 75–76, 89; Opéra d’Alger, appointed conductor of, 6; Opéra de Paris, appointed conductor of, 7; Opéra-Comique, appointed music director of, 6; Orchestre National de la Radiodiffusion Française (O.N.), formed and conducted, 6; Société des Nouveaux Concerts, founded, 5, 33; Théâtre des Champs-Élysées, appointed director of, 5 Works: La Légende du grand Saint-Nicholas, 8; La Nursery, 8, 38; Quatre Fanfares, 8; Sinfonia breve, 8 Inghelbrecht, Germaine, xvi, xvii, xviii, xix, 6, 7 Jean-Aubry, Georges, 92, 117 Josquin Des Prés, 47 Jusseaume (baritone), 4 Koussevitzky, Serge, 41 Lacome d’Estalenx, Paul, 35, 117 Lalo, Édouard, 117; Scherzo, 25 Lamy, Fernand, 25, 118 Lassus, Roland de, 47 Laval, President Pierre, 7 Leblanc, Georgette, 70 Lesure, François, xv, xvii

INDEX

Linder, Max, 54, 55 Long, Marguerite, 90, 91, 92, 118 Maeterlinck, Maurice, 68, 69–70, 118 Marinetti, Emilio, 50, 51, 118 Massenet, Jules, 65 Meck, Madame von, 85 Mendelssohn, Felix, 47 Merkel (violinist), 96, 97 Messager, André, 60, 61, 118 Monteux, Pierre, 3, 118 Monteverdi, Claudio, 47 Morgan Library, The, New York, xvii Mozart, Wolfgang Amadeus: Sonatas for piano, 96, 97 Musorgsky, Modest, 5, 37–38, 47, 118; Boris Godunov, 5, 7, 36, 37–38; Les Enfantines, 8, 98, 99; Nursery, 38; Pictures at an Exhibition, 5 Nin, Joaquin, 90, 91, 92, 118 Nouveaux Concerts, 54, 55 Orléans, Charles d’, 46, 47, 118 Palestrina, Giovanni Pierluigi da, 47 Perrin, Germaine, 6 Philipp, Isidore, 96, 97 Pierné, Gabriel, 54, 55, 56, 118–19 Puccini, Giacomo: Tosca, 67 Rameau, Jean-Philippe, 65 Ravel, Maurice, 7, 98, 99 Renoir, Pierre-Auguste, xvii Rubinstein, Ida, 10, 11, 119 Saint-Saëns, Camille, 25–26, 52, 119; La Lyre et la Harpe, 25–26; Phäeton, 25–26 Salle Gaveau, 4, 11, 19, 47, 104, 105, 106, 107

131

Salle Pleyel, 6 Samazeuilh, Gustave, 30, 119 Satie, Erik, 50, 51–52, 119; Élégie, 52; Gymnopédies, 51; Parade, 52 Schmitt, Florent, 4, 7, 47, 119; Psaume XLVII, 4; La Tragédie de Salomé, 4 Shéhérazade (ballet), 11 Société des Nouveaux Concerts, 33 Société Indépendante Musicale (S.I.M.), 4, 19 Société Internationale, 75 Société Musicale Indépendante (S.M.I.), 104, 105, 106, 107 Société Nationale, 75, 92 Speiser, Lucy, 96–99 Steinlen, Colette, xvii, 3, 43, 90, 91, 92, 110, 111, 112, 113 Steinlen, Marguerite, xvii Steinlen, Théophile Alexandre, xix, 4, 42, 43, 46, 47, 64, 65, 90, 91, 92, 119 Strauss, Richard, 50, 51, 119 Théâtre des Arts, 4 Théâtre des Champs-Élysées, 5, 8, 25, 33, 37, 55, 103 Théâtre du Châtelet, 25 Théâtre Nouveau, 4 Tinan, Dolly de, 26, 49, 79, 119 “Tombeau de Claude Debussy, Le,” 52 Touche (violinist), 96, 97 Tout-Paris, Le, 4 “Très Moutarde” (song), 78, 79 Vallin, Ninon, 119–20 Viñes, Ricardo, 90, 91, 92, 120 Vuillermoz, André, 11 Vuillermoz, Émile, 120 Wagner, Richard, 50, 51, 120 Waldteufel, Émile, 35, 120; Estudiantina, 34, 35

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Désiré-Emile Inghelbrecht was a chorus master, conductor, and composer. His friendship with Claude Debussy began in 1911 (although they had met previously), and he soon became one of the Master’s closest friends. This book is the first publication, in the original French and in English translation, of the correspondence between these two musicians. Beginning rather formally in 1912, with the salutation “Mon cher Inghelbrecht,” the correspondence soon became much more intimate, with Debussy addressing Inghelbrecht as “Mon cher ami” or “Cher Inghel.” Although Debussy had a reputation for being cold and distant and for avoiding strangers, this was just his way of maintaining his privacy. This aloofness enabled him to express in private the warmth he felt toward those few close friends whose intimacy he needed and cherished. Inghelbrecht was in the forefront of this group. Their friendship was based not only on a mutual respect for each other’s talents as artists and musicians, but also on the sharing of intimate secrets and warm feelings. Inghelbrecht’s wife would later write that her husband retained the mark Debussy left on him. “For him, he was a beacon, a guide. And he had the deep joy of being able, up until his last days, to bring to life—with passion, with all his talent—the works of a man who had been for a few years his friend.” Margaret G. Cobb, the “doyenne of Debussy scholars,” brings to life these two talented men. She enriches Richard Miller’s idiomatic translation of the letters with copious notes and wonderful illustrations to illuminate a great musical friendship. Margaret G. Cobb is also the author of The Poetic Debussy, available from the University of Rochester Press. In 2002 she was awarded the title of Officier de l’Ordre des Arts et des

Lettres by the French Government’s Ministère de la Culture et de la Communication. “The friendship recounted in this book is one that echoes in the legendary Debussy recordings of the 1950s and 1960s conducted by D. E. Inghelbrecht. Among the many endearing glimpses here of two strong artistic personalities is their shared love of Musorgsky and Chabrier, and a telling blend of wit with uncompromising artistic aims. This is a book to put an extra spring into our playing of Debussy.” —Roy Howat, pianist, author of Debussy in Perspective: A Musical Analysis, and Editorial Board member of the Oeuvres Complètes de Claude Debussy. “A wonderful book, one that will be welcomed by everyone interested in French modernist music. The richness of the lives that unfold from the pages of these letters is engrossing, and the translation is superb. Margaret Cobb’s meticulous work on Debussy has long been deeply admired by her devotees, and this book adds so much to our understanding of an enigmatic composer and of one of his close collaborators.” —Carolyn Abbate (Princeton University), author of In Search of Opera and Unsung Voices: Opera and Musical Narrative in the Nineteenth Century.

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