“‘No, my dear Beast, you shall not die; you shall live to be my husband!’”
The Beast had disappeared, and she saw at her feet only a prince more beautiful than Love, who thanked her for having broken his enchantment.
“Mouvement de valse très modéré,” F major, 3-4. This movement is based chiefly on a melody for the clarinet, which begins in the second measure. There is a middle section with a subject suggesting the Beast and given to the double bassoon. The two subjects are combined. At the end, a solo violin plays the theme of the middle section.
V. “The Fairy Garden.” Lent et grave, C major, 3-4. The movement is based on the opening theme for strings.
The orchestration is as follows: two flutes (and piccolo), two oboes (and English horn), two clarinets, two bassoons, double bassoon, two horns, kettledrums, triangle, cymbals, bass drum, tam-tam, xylophone, glockenspiel, celesta, harp and strings.
“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.