M. Claude Debussy, who by nature is almost as shy and retiring as his music is diaphanous, came to London during the week and appeared as conductor at the Symphony Concert of the Queen’s Hall Orchestra yesterday. It was decidedly interesting to see this imaginative modern in the flesh and to hear his interpretation of two of his works. His appearance in our concert-room emphasises rather curiously the extreme slowness of our methods in matters operatic, or, perhaps it would be better to say, our strange attitude towards the lyric art.



M. Debussy is unquestionably one of the most original of “moderns,” and yet his chief work - his opera “Pelléas et Mélisande” - has not been seen in England, although it has, since its production in 1895, attracted more than a common amount of attention abroad.

The new work which M. Debussy brought forward yesterday afternoon - the set of three of symphonic sketches, “La Mer”- is comparatively fresh, seeing that it is as yet only three years old. A choral work of character and importance in its way - “The Blessed Damozel” - dates even farther back, but it may be taken as an earnest of desire to be a little more progressive that performance of this has been arranged for shortly.

As a conductor be has peculiar methods - almost as vague as his music - and his beat must be difficult to follow.

The “Afternoon of a Faun” came first on yesterday’s programme, and M. Debussy, who is typically French to look upon, and who bears himself with a certain aloofness which one associates with the poet, was heartily welcomed as he took his place at the conductor’s desk.



As a conductor be has peculiar methods - almost as vague as his music - and his beat must be difficult to follow. For all that, however, the Queen’s Hall orchestra responded to his direction with rare feeling, and the interpretation of the curiously elusive picture of the resting Faun, the shimmering heat of noonday and amorous thoughts which pass through the creature’s mind was presented with singular grace and delicacy. The playing of the soft passages was charming, and such rhythm as the music possesses was emphasised to a nicety.

Cover of the first edition of Debussy’s La Mer, A. Durand and Sons, 1905. Photograph: DEA / G. DAGLI ORTI/De Agostini/Getty Images

The next example was the set of three symphonic sketches “La Mer.” The titles sufficiently indicate the quality of it the music - “From Dawn to Noon at Sea,” “Gambols of the Waves,” “ Dialogue between the Wind and Sea.” The work at first hearing gave the sense of disappointment, in spite of the admirable performance which the composer secured for it. Regarded as programme music - of the special Debussy kind – the three sections are all too much of the same tone. It is a wonderful score, and all the effects in tonal peculiarities come out clearly - a quality in which the composer is certainly far ahead of many who express themselves in this particular way.

But the subjects seem to call for at least a breath here and there of real force, of elemental strength; and in this point the composer seems to have failed. Altogether it most be said that the earlier work proved much more satisfying as music, and made far more satisfying as music, and made far more of an appeal after its own kind.

The soloist at the interesting concert was the magnificent cellist, Professor Hugo Becker, who for sheer virtuosity is incomparable, while his tone is deliciously full and rich. He played a concerto - really a concert-piece - by Volkmann, a composer who was prolific and tasteful, but scarcely inspired. It was an effective display piece, and the accomplished soloist presented it in the best possible way, but It of served to emphasise the fact that there is very little really interesting music written for the ‘cello.

The concert began with the virile “Egmont” overture and ended with the well worn, but still wonderful, “Unfinished” Symphony of Schubert. Both these were directed by Mr HenryJ. Wood, and were played with the utmost furnish.

The Observer, 2 February 1908.

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