![]() In addition to the song's title, the title page bears a charming dedication to Mme Marie-Blanche Vasnier, replete with misspelled name and missing accents: "a Madame Vanier I qui a seule la voix assez legere I pour chanter des melodies ou il est I.FORTE 12 - perfect for blank sheet music and more ![]() Three corrections in lead pencil (not in Debussy's hand) appear on the second page of music: the word irai is corrected to irais, and two accidentals are added. Each page contains twenty-four staves and, although there are no watermarks, each folio carries an embossment of "LARD ESNAULT I Paris I FEYDEAu."3 Black ink is used throughout the manuscript, which consists of a title page, music on the two inner pages of the bifolio (written upside down in relation to the title page), and a final, blank page. ![]() Debussy's manuscript consists ofa single bifolio, 35 cm by 27 cm. Ofcourse, no amount of prose can replace the experience of listening to the song, so I encourage readers to take advantage of any opportunity to hear the piece, including the performance that will surely accompany the launching of The New York Public Library's facsimile publication in the near future. Following a brief description of the manuscript, some of the principal issues surrounding this piece-including the question ofdating the song, its stylistic features, and the music's relationship to Gautier's text-will be discussed at the end of this study, the work will be positioned in historical context. A published facsimile of the manuscript, in addition to my transcription and commentary on the song, is forthcoming from The New York Public Library. In 1990, she donated it to the Music Division of The New York Public Library for the Performing Arts. Pelletier wrote a brief note for the program ofBillie Lynn Daniel's recital, recounting the provenance ofthe manuscript and adding that "to my knowledge, this song has never been mentioned by any biographer, nor sung in public." In his review of the recital for The New York Times (19 March 1962), Eric Salzman cited Debussy's "charming, graceful setting of a Gautier poem." Upon Pelletier's death in 1982, the autograph score of "Les Papillons" remained in Rose Bampton's possession. It is likely that Pelletier shared the manuscript of"Les Papillons" with his wife and her most gifted pupils. ![]()
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