In the next variation, at P, the trend of the work becomes in-
creasingly manifest for it is written in only two voices, scored for
flute and violins and is a dramatic preparation for the announce-
ment of the complete main theme which is now proclaimed in
unison by the full orchestra. The work closes with a transfor-
mation of the opening march into F major, its majestic rhythm
symbolizing the successful result of Istar’s quest (See Supple-
ment No. 62.)
Debussy, Claude Achille, (1862-1918) is certainly the embodi-
ment, as a composer, of Pater’s saying that “Romanticism[290]
is the addition of strangeness to beauty”; for when we listen to
his music we are conscious of material and of forms of treat-
ment which we have never heard before. Debussy has listened
to the promptings of his own subtle imagination and has evolved
a style as novel as it is beautiful. As with all real originators,
Debussy at the outset was fiercely challenged, and his music
even to-day calls forth intolerant remarks on the part of those
who are suspicious of all artistic progress and evolution. In this
connection it is worthy of note that the French, notwithstanding
their national doctrine of liberty, have been chary of applying
this to composers who were departing from the beaten path.
Berlioz, whom now they acclaim as one of their greatest artists,
was welcomed as he deserved only after his fame had been es-
tablished among the Germans. Bizet was but slightly appreci-
ated during his life. Franck met with fierce opposition from the
routine members of the profession; and Debussy, although the
work by which he won the “Prix de Rome” in 1884 was acknowl-
edged to be one of the most interesting which had been heard at
the Institute for years, was afterwards severely criticized for the
setting made in Rome to Rossetti’sBlessed Damozelbecause,
forsooth, he had strayed too far from established and revered
tradition. We Americans may have a distinct feeling of pride in
the knowledge that the music of Debussy, the strongest note of
which is personal freedom—the inherent right of the artist to
express in his own way the promptings of his imagination—was
widely studied and appreciated in this land of the free before it
had begun to have anything like a universal acceptance among
the French themselves.
[Footnote 290: From this comparison we should not wish it to be
understood that Debussy is merely an addition to the standard
Romantic group of Schumann, Chopin, Liszt,etc.; his style,