After several bars of preluding by flute, harp, violas, and 'cellos
(harmonics), on an arpeggio figure, _ppp_, flutes and oboe present (page
115, measure 6) a theme which, in an ampler version, dominates the
entire scene. Its complete form, in which I conceive it to be suggestive
of the magic of night, is as follows (page 118, measure 2):
XII. NIGHT
[Illustration: Modéré sans lenteur]
It continues in the orchestra until, as Pelléas urges Mélisande to lean
further out of the window that he may see her hair unbound, a new theme
enters, seeming to characterize the ardor of Pelléas' mood (page 120,
measure 3[9]):
[9] I quote it as it appears in its maturer form on page 125 (measure
3).
XIII. ARDOR
[Illustration: Animez toujours]
As Mélisande leans further and further out of her window, these two
themes (_Night_ and _Ardor_) grow increasingly insistent. They are
interrupted at Pelléas' words, "I see only the branches of the willow
drooping over the wall," by a rich passage for divided violins, violas,
and 'cellos (page 124, measure 3), and by a brief phrase to which
attention should be drawn because of its essentially Debussy-like
quality--the progression in the first measure of page 125 (scored for
violins and violas). Then suddenly Mélisande's unloosed hair streams
down from the open window and envelops Pelléas, and we hear (a famous
passage) in the strings alone, _ff_, a precipitate descending series of
seventh-chords built on the familiar whole-tone scale which Debussy
finds so impelling (page 127, measure 1).
XIV
[Illustration: Animez toujours]
Then begins (page 128, measure 1) a delectable episode. Over a murmurous
accompanying figure given out by violas, 'cellos, harp, and horn, a
clarinet sings a variant of the _Mélisande_ theme. The harmonic changes
are kaleidoscopic, the orchestral color of prismatic variety. The lovely
rhapsody over his belovèd's
XV
[Illustration: Moins vite et passionnément contenu]
tresses which Maeterlinck puts into the mouth of Pelléas is exquisitely
enforced by the music. There is ravishing tenderness and beauty here,
and an intensity of expression as penetrating as it is restrained. As
Mélisande's doves come from the tower and fly about the heads of the
lovers, we hear, tremolo in the strings, a variation of her motive.
Golaud enters by the winding stair, and the threatening phrase quoted as
Ex. XI is heard sombrely in the horns, bassoons, violas, and
'cellos--its derivation from Golaud's own theme (see Ex. VI) is here
apparent. The latter motive sounds, _p_, as he warns Mélisande that she
will fall from the window if she leans so far out. It is followed by the
_Fate_ theme as he departs, laughing nervously. A short interlude is
evolved from the _Mélisande_ theme (the _Pelléas_ motive forming a
counterpoint), and the _Fate_ and _Vengeance_ motives--the latter
outlined, over a roll of the timpani and a sustained chord in the horns
and wood-wind, by a muted trumpet, _pp_.
No new thematic matter is presented during the two succeeding scenes (in
the vaults under the castle and, afterward, on the terrace), nor are
there significant reminiscences of themes already brought forward. The
music of the vault scene forms a pointed commentary on the implications
of the action and dialogue--in character it is dark-hued, forbidding,
sinister. As Golaud and Pelléas emerge from the vaults, much use is made
in the orchestra of a jubilant figure in triplets (first given out
_fortissimo_ by flutes and oboes, over an undulating accompaniment, on
page 152, measure 1) which seems to express a certain irresponsible
exuberance on the part of Pelléas; it accompanies his light-hearted
remarks about the odor of the flowers, the sheen of the water, and the
invigorating air, as they come out upon the sunlit terrace. As the scene
changes again, a very short interlude introduces a new theme--that of
Little Yniold, Golaud's son, whom he is to use as the innocent tool of
his suspicions. This motive, which occurs repeatedly during the ensuing
scene, is one of the less important, but most typical and haunting ones,
in the entire score. It is first presented (page 158, measure 4) by the
oboe, _doux et expressif_:
XVI. YNIOLD
[Illustration: _p doux et expressif_]
It is heard again as an accompaniment to Yniold's naïve answers to
Golaud's interrogations (page 160); when he cries out that his father,
in his agitation, has hurt him (page 164); and, in a particularly
touching form, on page 165, measure 4, when Golaud promises that he will
give him a present on the morrow if Yniold will tell him what he knows
concerning Mélisande and Pelléas. We hear the _Pelléas_ theme in the
strings and wood-wind (page 172, measure 7) when Yniold says that they
"weep always in the dark," and that "that makes one weep also," and
again when he tells of having seen them kiss one day--"when it rained."
Thereafter it is heard repeatedly in varying forms to the end of the
scene, at times underlying a persistent triplet-figure which has the
effect of an inverted pedal-point. A tumultuous and agitated _crescendo_
passage brings the act to a portentous close.