A fascinating collection of 14 autograph letters and cards and 2 telegrams addressed to the important French composer, dated between 1903 and 1917, from musicians and other artistic figures of the era. The letters, from correspondents including conductors, critics, dancers, composers, and visual artists, mention the very positive reception of Debussy's works during the last years of his life, including his 1903 nomination as a Chevalier of the Légion d'Honneur, the Chicago premiere of his opera Pelléas et Melisande, and Toscanini's 1911 performance of La Mer; other works discussed include his ballet Jeux, the cantata L'enfant prodigue, and his work for piano, L'isle joyeuse. Letters range from 4 x 2.5 inches to 5.25 x 8.25 inches and are overall in very good to fine condition, with some light toning and age wear. All letters in French.

Contents:

Three letters congratulate Debussy on his nomination to the Légion d'honneur in 1903: one autograph note on the visiting card of conductor Edouard Colonne (Paris, [February 1903], 1 p.); one ALS  from the soprano Lucienne Bréval (n.p., [February 4, 1903], 4 pp.) which also mentions her desire to sing one of Debussy's mélodies with orchestra; and one ALS from the architect Charles Plumet (Paris, n.d., 1 p.).

Two telegrams dated June 11, 1910 send congratulations to Debussy on the successful performance of his Pelléas et Mélisande in Chicago from the conductor, Cleofonte Campanini, and the director general of the Chicago Grand Opera Company, Andreas Dippel: "Four thousand people were impressed and touched. Our congratulations."

Two letters send congratulations to Debussy on the performance of his La Mer under Toscanini in Turin in 1911. On a photograph postcard (Turin, September 30, 1911), the composer Leone Sinigaglia writes that "It would have been a joy for you, a lasting memory. Toscanini put his whole soul into it, all his intelligence, and all his will. His execution of your admirable masterpiece was prodigious. The public, wary at the beginning (as you may imagine! you know this well), was won over -- at the end it was a great success, which was repeated yesterday evening..." The critic Giuseppe Depanis (Turin, October 12, 1911, 2 pp.) writes that "not only was the second presentation (Toscanini) of La Mer received with the same good favor as the first, but Vincent D'Indy also performed Nuages andFêtes in his concert on the 10th of the month with great success."

An autograph letter from Nadejda Rimsky-Korsakov (St Petersburg, August 20, 1911, 1 p., with envelope) thanks Debussy for his telegram, and mentions in reference to the Ballets Russes' adaptation of her husband's famous work Scheherazade that "the appearance before the artistic Parisian public of my husband's works, changed and transformed into ballet, caused me great pain last summer and this time."  

An autograph letter from the caricaturist Beppe Fabiano (Paris, May 29, 1912, 2 pp.) confesses to Debussy that "I have just exhibited your portrait at the Salon des Humanistes -- in a series of celebrated composers -- without asking your permission beforehand. Fearing I may have overstepped, I would be delighted if you would forgive me."

A short autograph letter from the sculptor Denys Puech (Paris, June 4, 1912, 1 p.) mentions L'après-midi d'un faune. 

A short autograph letter from the sculptor [Albert] Bartholomé (Budapest, May 25, 1913, 1 p.) informs Debussy that his cantata L'enfant prodigue "was admirably executed by truly passionate performers. I was able to obtain the poster from the theater and will be pleased to send it to you." 

The Russian ballerina and soloist with the Ballets Russes, Ludmilla Chollar writes to Debussy about her role in Jeux, in which she starred with Nijinsky and Tamara Karsavina (London, June 26, [1913], 2 pp.). She thanks the composer for the "the most beautiful memories which I could bring from Paris: the very kind words with which you dedicated Jeux, your photography, and some measures of my role [...] If I take from the creation of Jeux one exquisite and ineffable memory, it is to you that I owe it, to your work, and to the happy chance that I met you, away from the mirage of celebrities, an artist as great as you, whose work is dear to me above all others."

An autograph letter from the composer Ildebrando Pizzetti (Florence, September 17, 1913, 1 p., with envelope) asks Debussy to comment on his new composition: "You would do me a great honor, Maître, if you would send me a few words on the subject, but of course with no obligation on your part to give me compliments if my musical work does not interest you!"

An interesting wartime letter from the Italian conductor Bernardino Molinari (Rome, September 18, 1915, 4 pp.) calls on Debussy's patriotic feelings to ask him to collaborate with his orchestra: "I still remember what you said to me yourself here in Rome, about "L'isle joyeuse," when you gave me hope that you might make a transcription for orchestra. If you have the desire and the time, I would be very flattered to have the score, to perform it during the next concert season at the Augusteo. You understand that in this season we very much wish to form a program in which our allies in France figure prominently. In a political moment like this one, where the souls of all the Allied nations are unified, and united into one ideal, all of us at the Academie ask you for your valid support in the coming season." He goes on to apologize that because of the war, he will be unable to offer the same fee as the previous time, and reports that performances of Debussy's works around Italy have been very successful: "This shows, with evidence, that your musical language speaks to great and small, touching the heartstrings of all." 

An autograph letter from the composer and musicologist Jean D'Udine (Paris, April 27, 1917, 3 pp.) invites Debussy to one of Udine's salons, despite Debussy's known disdain for his school of dance: "I know you have no sympathy for rhythmic gymnastics, which seem to you, you have written, 'a very disagreeable domestication of rhythm.' I believe that you are wrong, and that they are rather an emancipation of rhythm, when taught well. Without any hostility on your part towards the method which I teach with conviction, I would like to ask you to honor with your presence one of the evenings which I am hosting at present. You would there see danced, with extreme love and respect by one of my students, a remarkable artist, your beautiful dances for chromatic harp [...] I did not want to give these evenings (April 28, and May 3 and 5) without informing you, pour memoire, and without letting you know that it is sometimes where one feels the least loved that one is actually the most seriously and profoundly loved..."

The violinist and composer Francesco Guarnieri writes (N.p., October 17, 1917, 2 pp., on black-bordered stationery) to ask Debussy for a signed copy of his violin sonata, which he will perform in Italy, and also recalls a much earlier performance of Debussy's famous quartet, at which Debussy gave him a copy of the score.