A close technical study of Debussy’s idiom, drawing on set theory and
Schenkerian methods. Pitch-class analysis, drawing on Allen Forte’s model, is
especially fruitful in examining Pelléas(p.163–186), where it is found to
underlie textual expression. Debussy “devised a new vocabulary of musical
symbols.” Backnotes, bibliography of about 150 items, expansive index.- Grayson, David A. “Waiting for Golaud: The Concept of Time in Pelléas.” In
Debussy Studies, ed. Richard Langham Smith, 26–50 (New York: Cambridge
U.P., 1997; ISBN 0-521-46090-5; ML410 .D28 D39).
Stage time versus real time creates tensions in the opera. In act 1, scenes 1 and
2, the successive events may take place at the same time. An appendix presents
a scene deleted by Maeterlinck before publication of the play, located in a
manuscript in the Morgan Library; it would have been part of act 1. - Grayson, David A. The Genesis of Debussy’s “Pelléas et Mélisande.”Ann
Arbor, Mich.: UMI Research, 1986. xiv, 342p. ISBN 0-8357-1674-0. ML410
.C28 G7.
Based on his Ph.D. dissertation, Harvard U., 1983. Considers the letters of the
composer and other clues to his thinking as he dealt with the Maeterlinck play.
Covers influences (e.g., Wagner), manuscripts, early editions, and other
sources. Presents a reception account as well. Bibliography of some 250 items,
index. One genesis aspect is elaborated in an article by Grayson: “The Libretto
of Debussy’s Pelléas et Mélisande.” M&L66–1 (1985): 34–50. - Emmanuel, Maurice. “Pelléas et Mélisande” de Debussy:Étude et analyse.
Paris: Mellottée, 1926. 224p. MT100 .D44 P28.
Analysis of structure, tonality, melody, and leading motives, with some genesis
aspects. - Stirnemann, Kurt. Zur Frage des Leitmotivs in Debussys “Pelléas et
Mélisande.”Schweizer Beiträge zur Musikwissenschaft, 4. Bern: Haupt, 1980.
266p. ISBN 3-2580-2934-2. ML5 .S32 no.4.
Continues the leading motive analysis of Emmanuel, locating families of
themes that are transformed in the course of the drama. - Abbate, Carolyn. “Tristanin the Composition of Pelléas.” 19thCM5 (1981):
117–141. Reprint, GL,v.12.
Examines several manuscripts, revealing that early drafts are clearly connected
to Tristan. Similarities are concentrated in the tryst scene of act 4, which has
an evident dramatic twin in act 2 of Tristan. Specific Wagnerian quotations are
pointed out, with reference to Holloway’s work in this area (#740). Much con-
vincing technical detail is presented. Abbate’s analytic work is of great interest
in itself, apart from the matter of Wagnerian influences. - Holloway, Robin. Debussy and Wagner. London: Eulenburg, 1979. 235p.
ISBN 0-903873-26-5. ML410 .D28 H74.
Although Debussy wrote no theory of opera, “Pelléasfulfills better than any of
Wagner’s works the theoretical demands of Oper und Drama.” Holloway
explores musical and textual connections between Tristanand Pelléas,empha-
152 Opera