Chapter IX: Act III

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

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

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

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

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

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.