“DAPHNIS ET CHLOÉ,” BALLET IN ONE ACT, ORCHESTRAL FRAGMENTS, SECOND SERIES “DAYBREAK,” “PANTOMIME,” “GENERAL DANCE”
Ravel’s cunningly and gorgeously orchestrated ballet bears separation from the stage and stage effects, the dancers and the mimes. Nor is it necessary for one’s enjoyment to be concerned with the adventures of Daphnis and Chloe. Here is something more than purple patches of instrumental color and dexterous juggling with surprising combinations of timbres. There is form, there is melody, there are ravishing harmonic devices; there is, above all, poetic imagination.
Ravel composed his ballet, Daphnis and Chloe, expecting that it would be performed by the Russian Ballet at Paris in 1911. Jacques Durand, the publisher, says that Ravel was asked by Diaghilev in 1911 to write this ballet. Others give the year 1910. Durand also says Diaghilev was not at first satisfied with the ballet and hesitated to produce it, but Durand finally persuaded him; that Diaghilev’s first unfavorable impression was due to his knowing the music only by the arrangement for piano. At the rehearsals there were violent scenes between Fokine and Diaghilev, which led to the rupture which became “official” after that season of the Ballet Russe. It was not performed until June 5, 1912. The performances were at the Châtelet. Nijinsky mimed Daphnis; Mme Karsavina, Chloe. Messrs. Bolm and Cechetti also took leading parts. The conductor was Mr. Monteux. The score, however, was published in 1911. Two concert suites were drawn from it. The first—“Nocturne,” “Interlude,” “Danse Guerrière”—was performed at a Châtelet concert conducted by Gabriel Pierné on April 2, 1911.
The second suite is scored for two flutes (and piccolo), a flute in G, two oboes, English horn, a clarinet in E flat, two clarinets in B flat, bass clarinet in B flat, three bassoons, double bassoon, four horns, four trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, tambourine, two side drums, castanets, celesta, glockenspiel, two harps, strings (double basses with the low C), chorus of mixed voices. This chorus, which sings without words, can be replaced by variants inserted for this purpose in the orchestral parts.
The following argument is printed in the score of the suite to illustrate the significance of the sections in succession:
“No sound but the murmur of rivulets fed by the dew that trickles from the rocks. Daphnis lies stretched before the grotto of the nymphs. Little by little the day dawns. The songs of birds are heard. Afar off a shepherd leads his flock. Another shepherd crosses the back of the stage. Herdsmen enter, seeking Daphnis and Chloe. They find Daphnis and awaken him. In anguish he looks about for Chloe. She at last appears, encircled by shepherdesses. The two rush into each other’s arms. Daphnis observes Chloe’s crown. His dream was a prophetic vision: the intervention of Pan is manifest. The old shepherd Lammon explains that Pan saved Chloe, in remembrance of the nymph Syrinx, whom the god loved.
“Daphnis and Chloe mime the story of Pan and Syrinx. Chloe impersonates the young nymph wandering over the meadow. Daphnis as Pan appears and declares his love for her. The nymph repulses him; the god becomes more insistent. She disappears among the reeds. In desperation he plucks some stalks, fashions a flute, and on it plays a melancholy tune. Chloe comes out and imitates by her dance the accents of the flute.
“The dance grows more and more animated. In mad whirlings, Chloe falls into the arms of Daphnis. Before the altar of the nymphs he swears on two sheep his fidelity. Young girls enter; they are dressed as Bacchantes and shake their tambourines. Daphnis and Chloe embrace tenderly. A group of young men come on the stage.
“Joyous tumult. A general dance. Daphnis and Chloe.”
The scenario of the ballet was derived by Michel Fokine from the charming romance of Longus. There are stage pictures of Chloe carried away by robbers, rescued by Pan at the prayer of Daphnis, and of the lovers miming together the story of Pan and Syrinx. There are scenes in the grove of Pan and in the pirate camp, besides those mentioned above. The scenery and costumes were designed by Leon Bakst.