A variant of the _Pelléas_ theme, with the opening notes of the _Fate_
motive as an under voice, begins the short prelude to the fourth act;
there is a hint of the _Yniold_ theme, and the first two notes of the
_Pelléas_ motive introduce the first scene. The interview between
Mélisande and her lover, in which they arrange their tryst at the
fountain in the park, is treated with restraint; an expressive phrase
sung by the 'cellos (page 194, measure 11) may be noted at the point
where Pelléas informs Mélisande that she will look in vain for his
return after he has gone. The _Mélisande_ theme, in a new form, opens
the moving scene between Mélisande and Arkël in which he tells her of
his compassionate observation of her since first she came to the castle.
During his speech and her replies we hear her motive and that of _Fate_
(page 205), the latter theme announcing the entrance of Golaud,
distraught, blood-bespattered, seeking, he says, his sword. The music of
the ensuing scene does not call for extended description--rather for the
single comment that in it Debussy has proved once for all his power of
forceful, direct, and tangible dramatic utterance: the music here, to
apply to it Golaud's phrase in the play, is compact of "blood and
iron"--as well it needed to be for the accentuation of this perturbing
and violent episode. The _Fate_ motive courses ominously through its
earlier portions. We hear, too, what I have called the "second"
_Mélisande_ theme--that which seems to denote her naïveté (see Ex. IV),
and a strange variant of the first _Mélisande_ theme (page 212, measure
4). At the climax of the scene, when Golaud seizes his wife by her long
hair and flings her from side to side, the music is as brutal, as
"virile," as the most exigent could reasonably demand. Later, as he
hints at his purpose,--"I shall await my chance,"--the trombones, tubas,
and double-basses _pizzicato_ mutter, _pp_, the motive of _Vengeance_.
The orchestral interlude is long and elaborate. We hear a variant of the
_Fate_ theme, which reaches a climax in a _fortissimo_ outburst of the
full orchestra. The theme in this form is developed at length; there is
a reminiscence of the _Mélisande_ theme, and the music, by a gradual
_diminuendo_, passes into the third scene of the act--in the park,
before the Fountain of the Blind. At the beginning occurs the incident
of the passing flock of sheep observed by Yniold. This scene need not
detain us long, since it is musically as well as dramatically episodic.
There are no new themes, and no significant recurrences of familiar
ones, though the music is rich in suggestive and imaginative details; as
I have previously noted, it is omitted in the performances at the
Opéra-Comique.
Pelléas enters, and there is an impassioned declaration of his theme,
scored, _f_, for wood-wind, horns, and strings, as he observes that he
is about to depart, "crying out for joy and woe like a blind man fleeing
from his burning house." There is a return of the _Mélisande_ theme; and
then, as she herself enters, and Pelléas urges her not to stay at the
edge of the moonlight, but to come with him into the shadow of the
linden, there enters a theme of great beauty and tenderness, announced,
_mystérieusement_, by horns and 'cellos (page 236, measure 6). I may
call it, for want of a better name, the motive of _The Shadows_, since
it appears only in association with the thought of sheltering darkness
and concealment:
XVII. THE SHADOWS
[Illustration: Modéré]
We hear the _Fate_ motive when Mélisande warns Pelléas that it is late,
that they must take care, as the gates of the castle will soon be closed
for the night. There is a gracious variant of this motive as Mélisande
tells how she caught her gown on the nails of the gate as she left the
castle, and so was delayed. Then comes a reminiscence of the _Fountain_
theme (the authentic wonder of which is that it is not a theme at all,
but merely a single chord introduced by a grace-note; yet the vividness
of its effect is indisputable), suggested, _pp_, by horns and harp, at
Mélisande's words: "We have been here before." As Pelléas asks her if
she knows why he has bidden her to meet him, strings and horn give out,
_pp et très expressif_, a lovely phrase derived from the _Pelléas_ theme
(page 242, measure 1). Their mutual
XVIII
[Illustration: Modéré]
confessions of love, so simply uttered in the text, are entirely
unaccompanied by the orchestra; but as Pelléas exclaims: "The ice is
melted with glowing fire!" four solo 'cellos, with sustained harmonics
in the violins and violas, sound, _pianissimo_, a ravishing series of
"ninth-chords" (page 244, measure 6)--a sheer Debussy-esque effect, for
the relation between the chords is as absolutely anarchistic as it is
deeply beautiful. "Your voice seems to have
XIX
[Illustration: Lent]
[Illustration]
blown across the sea in spring," says Pelléas, and a horn, accompanied
by violins in six parts, announces the motive of _Ecstasy_ (page 245,
measure 7):
XX. ECSTASY
[Illustration: Modéré]
The 'cellos intone the _Mélisande_ theme as Pelléas tells her that he
has never seen anyone so beautiful as she; the theme of _Ecstasy_
follows in the strings, horns, and wood-wind, _forte_; the theme of
_The Shadows_ returns as Pelléas again invites her into the darkness
beneath the trees; there is a dolorous hint of the _Mélisande_ theme as
she says that she is happy, yet sad. And then the amorous and caressing
quality of the music is sharply altered. There is a harsh and sinister
muttering in the double-basses as Pelléas, startled by a distant sound,
cries that they are closing the gates of the castle, and that they are
shut out. The _Golaud_ motive is recalled with sombre force in the
strings as the rattle of the great chains is heard. "All the better! All
the better!" cries Mélisande; and, as they embrace in sudden
abandonment, we hear, introduced by an exquisite interplay of
tonalities, the motive of _Rapture_, announced, _pp_, by divided strings
and flutes (page 258, measure 12):
XXI. RAPTURE
[Illustration: Modéré]
As Mélisande whispers suddenly to Pelléas that there is some one behind
them, a menacing version of the _Vengeance_ theme is played, _pp_, by
the basses, trombones, and timpani. This theme and that of _Rapture_
hasten the music toward its culminating point of intensity. The
_Pelléas_ theme is given out by the 'cellos, the _Mélisande_ theme (this
is not indicated in the piano version) by the violins, and as the lovers
embrace desperately, a _crescendo_ leads to a _fortissimo_ proclamation,
by all the orchestral forces, of a greatly broadened version of the
motive of _Ecstasy_. As Golaud rushes upon them and strikes down
Pelléas, the _Fate_ theme is declaimed by four horns in unison over
string tremolos; and, as he turns and silently pursues the fleeing
Mélisande through the forest, his _Vengeance_ theme brings the act, by a
rapid _crescendo_, to a crashing close.