As the third scene opens (before the castle), the Mélisande theme is sung, mélancolique et doux, by the oboe against a murmuring accompaniment of the strings. Together with the Pelléas theme, it accompanies the opening portion of the scene. A suggestive use is made of a fragment of the Fate theme at Mélisande's words, after Pelléas prophesies the approach of a storm: "And yet it is so calm now!" (page 44, measure 5). Just before the voices of the departing sailors are heard, the curious student will note a characteristic passage in the orchestra (page 45, measure 1)—a sequence of descending "ninth-chords" built on a downward scale of whole tones. The Fate theme, combined with that of Mélisande, colors the rest of the scene to the end. The conclusion of the act is striking: two flutes outline a variant of the Mélisande motive; a horn sounds the first three notes of the second measure of the Fate theme, and four horns and flute sustain, pp, an unresolved suspension—C#-F#-A#-D#-G#.
VIII.
ACT II
The Pelléas theme, sung by two flutes, opens the brief introduction to the second act. It is repeated, interwoven with harp arpeggios. Immediately preceding the entrance of Pelléas and Mélisande a muted horn, two flutes, two oboes, and harp sound a chord of singularly liquid quality—one of those fragmentary effects in the invention of which Debussy is so curiously happy. It is the motive of The Fountain.[8]
IX. THE FOUNTAIN
It is repeated, with still more magical effect (scored for divided violins and violas, two muted horns, and harp), as Mélisande remarks upon the clearness of the water, while the violins and violas weave about it a shimmering figure in sixteenth-notes with which its appearances are usually associated. As Pelléas warns Mélisande to take care, while she leans above the water along the marble edge of the basin, the clarinet, over a string accompaniment, announces an impassioned phrase (page 62, measure 3)—the theme of Awakening Desire: