DEBUSSY, Claude (1862-1918). Le Martyre de Saint-Sébastien. Fragments Symphoniques. Paris: Durand & Fils, plate no. 8521, . 2°. Full score. FIRST EDITION. With AUTOGRAPH CORRECTIONS. Contemporary boards. - DEBUSSY. Le Martyre de Saint-Sébastien. (Complete version). Paris: Durand & Fils, plate no. 8196, 1911. Full score with AUTOGRAPH CORRECTIONS. Contemporary boards. - DEBUSSY. Khamma, Légende Dansée. Paris: Durand & Fils, plate no.8443, 1912. 2°. Piano reduction by the composer. ENGRAVED PROOF WITH AUTOGRAPH CORRECTIONS. Paper wrappers. - DEBUSSY. Ballade pour le Piano. Paris: Fromont, plate no. E1401F. 2°. FIRST EDITION WITH AUTOGRAPH CORRECTIONS. Contemporary paper. (Sold with a modern edition of the work published by Jobert with the original Fromont plate number).
The autograph corrections to the 'Fragments Symphoniques' comprise the addition in blue ink of two bars to the first violin part at figure 15 (p.35) in No. 2 'Danse extatique et Final du 1er Acte.' The edition of the complete version of Saint Sébastien offered here was never publicly sold. The autograph corrections comprise minor amendments and additions to pp.47-52, 59, 62-63, 101, 167 and 172, mostly to markings, note values and accidentals.
Debussy's incidental music to Gabriele D'Annunzio's mystery play was composed in 1911 and first performed at the Théâtre du Châtelet on 22 May 1911.
The autograph corrections to Khamma, in blue ink, comprise: the addition of two new chords and the crossing through of two others on p.3; the addition of two new bars and extensive revision to two further bars on p.9; the crossing through of two and a half bars and the substitution of new music on p.10; crossing through in blue crayon of eighteen bars on pp.12-13 of which four bars revised with additional phrasing and expression markings and the inclusion of two new bars and corrected accidentals and note values; revisions to two bars on p.18; and amendments in blue crayon to a bar each on pp.27 and 32. It is possible that the amendments in blue crayon are the engraver's rather than the composer's.
The ballet Khamma was a setting of a scenario by W.L.Courtney with choreography by Maud Allan. Composed in 1912, it was orchestrated by Charles Koechlin and was first performed in a concert version in Paris in 1924.
Ballade pour le Piano is annotated and initialled by the composer at the penultimate system on p.8.