Ariettes No. 1 ["C'est l'extase langoureuse"]. Paroles de P. Verlaine Musique de Ach. Debussy. [Piano-vocal score]

[Paris]: [E. Girod, Éditeur, Bould. Montmartre 16] [PN E.G. 6122], 1886. Folio. Original publisher's ivory self wrappers. 3 pp. music. With publisher's catalogue, "Mélodies Célèbres," to verso of p. 3 including opening measures of 8 pieces by Vidal, Dubreuilh, Puget, and Granier. In a custom-made dark green leather-backed clamshell box with marbled boards, spine with titling and decorative devices gilt.

A presentation copy, with autograph inscription to fellow composer Paul Dukas signed by Debussy to upper wrapper, in translation: "To Paul Dukas - I've said enough, I think, in saying your name, A[chille] Debussy."

Wrappers slightly (truncated) worn, soiled, and lightly creased; minor browning; small edge tears and chips; spine reinforced with tape with resulting minor staining to inner margin of lower wrapper. Bookplate of noted music collector David Wolman to front pastedown of clamshell box. First Edition of this, the first of the six Ariettes Oubliées, set to poems by Paul Verlaine. Lesure 60. Vallas Catalogue, p. VIII.

"In 1887, [Debussy] renewed his friendship with a young student at the Conservatoire who was three years his junior, Paul Dukas, primarily because both of them were able to discuss subjects other than just music: 'We considered it genteel to speak as little as possible about music.' Dukas's father was a scholar who specialized in the Orient. The two young composers would celebrate their get-togethers by having lunch along the boulevards, at the 'Diner européen,' and then walking together in the Bois de Boulogne, exchanging their ideals and aspirations.' " Lesure: A Critical Biography, English translation and revised edition by Marie Rolf, p. 73.

"The next few years [after 1887] were a time of financial struggle for Debussy. He frequented the literary and artistic cafés where the symbolists gathered, and formed friendships with Paul Dukas, Robert Godet and Raymond Bonheur. ... Two of his Ariettes oubliées were performed by the Société Nationale de Musique and he began to compose the Cinq poèmes de Baudelaire and the Fantaisie for piano and orchestra. It was the most Wagnerian period of his life: he went to Bayreuth in 1888 and 1889, but eventually recognized that he had to free himself from Wagner’s influence. ...

One of the most important musicians of his time, [Debussy's] harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure, and Roy Howat in Grove Music Online

French composer, critic, and teacher, "Dukas [1865-1935] was not only an influence on many French 20th-century composers and others such as Zemlinsky and Berg, but also remains important in his own right. His reputation rests on only a small number of compositions, notably the Piano Sonata, Ariane et Barbe-bleue, the ballet La Péri and L'apprenti sorcier. Dukas's influence as a critic, from 1892 to 1932, can be compared with Debussy's; his informed opinions reveal great sensitivity to the musical and aesthetic changes that took place during the period." Manuela Schwartz, and G.W. Hopkins in Grove Music Online

A fine association copy linking two major late 19th-early 20th century French composers. (Inventory #: 40416)