# Dances for Harp and String Orchestra

Dances for Harp and String Orchestra, in full in the original, Danses pour harpe chromatique avec accompagnement d'orchestre d'instruments à cordes (Dances for chromatic harp with string orchestra accompaniment), is a 1904 work by Claude Debussy. There are two sections: Danse sacrée and Danse profane, and the work is sometimes billed accordingly. It is a two-movement work, of about ten minutes' duration.

## Background

By 1904 Claude Debussy was established as one of France's leading composers. His 1902 opera Pelléas et Mélisande had brought him international fame, and he had been appointed a Chevalier of the Légion d'honneur the following year. Gustave Lyon, director of the Pleyel harp-making company, had invented a new type of instrument – the chromatic harp – with no pedals but with an additional set of strings, slanting across the others, enabling harpists to play any note in the chromatic scale with either hand. Lyon commissioned Debussy to write a work for the new instrument, originally for the competitions at the Brussels Conservatoire, where a class had been established for the study of the ancient harp in its modernised form.

## Premiere and reception

The work was premiered on 6 November 1904 at one of the Concerts Colonne at the Châtelet Theatre in Paris, with Lucile Wurmser-Delcourt as soloist. It had a mixed reception. Pierre Lalo, music critic for Le Temps, usually an admirer of Debussy, wrote, "It really seems as though the Dances are not by M. Debussy, but by some of his unfortunate imitators and one would like to be able to say as much, rather than being forced to recognise that M. Debussy is beginning to imitate himself". When the Dances were first heard in London, The Musical Times commented, "At least it can be said that they held the attention if they did not at once excite admiration". After the American premiere The New York Times described the Dances as "music of distinctive charm and flavor".

## Publication and later performances

The work was published in 1904 by Éditions Durand in Paris and Novello in London. Arrangements for other combinations of instruments followed; Durand published versions for piano and strings, piano duet, harp and piano, violin and piano, and cello and piano. The title of the original score was expanded by Durand to read "Danses pour harpe chromatique ou harpe à pédales, ou piano avec accompagnement d'orchestre d'instruments à cordes". The published work is dedicated to Lyon.
The work was first heard in Britain in June 1908 in the piano and orchestra version, with Julius Harrison as soloist and Granville Bantock conducting. The original version was given at the Bechstein Hall in February 1909 by the Société de Concerts Français. Wurmser-Delcourt was the soloist; in her American début, she again played the Danses, at a concert in Aeolian Hall, New York, in December 1919, but did not give the US premiere, which was in December 1916 in a concert at the same venue, when Carlos Salzedo was the soloist in the Dances and in the first American performance of Maurice Ravel's Introduction and Allegro.

## Music

Both dances are in D, the first principally in Dorian mode and the second principally in Lydian. The theme of the Danse sacrée appears to have been borrowed from that of the Danse du voile, by Debussy's friend Francisco de Lacerda.
The Danse sacrée is marked Très modéré, the metronome mark is ♩ =120 and the time is $^3$ $_2$. The strings begin in the first seven bars and then the harp enters pianissimo, doux et soutenu. The Danse profane – marked modéré, ♩ =152, and $^3$ $_4$ – is a slow swirling waltz, with its theme alternating with more animated interludes, before fading to a quiet conclusion. The two dances are of approximately equal duration, typically lasting about ten minutes between them.
Debussy's biographer Léon Vallas, calling the music "simple and pleasantly harmonious", comments, "The use of the ancient modes, as well as certain details of the instrumentation, may possibly recall Erik Satie's Gymnopédies".

## Recordings

Recordings include:
| Soloist | Orchestra | Conductor | Year |
| Edna Phillips | Philadelphia Orchestra | Leopold Stokowski | 1931 |
| Phia Berghout | Concertgebouw Orchestra | Eduard van Beinum | 1952 |
| Ann Mason Stockton | Concert Arts Ensemble | Felix Slatkin | 1955 |
| Nicanor Zabaleta | Berlin Radio Symphony Orchestra | Ferenc Fricsay | 1956 |
| Suzanne Cotelle | Lamoureux Orchestra | Igor Markevitch | 1960 |
| Lily Laskine | Paillard Chamber Orchestra | Jean-François Paillard | 1962 |
| Annie Challan | Orchestre de la Société des Concerts du Conservatoire | André Cluytens | 1965 |
| Marilyn Costello | Philadelphia Orchestra | Eugene Ormandy | 1967 |
| Alice Chalifoux | Cleveland Orchestra | Pierre Boulez | 1970 |
| Marie-Claire Jamet | Orchestre National de l'ORTF | Jean Martinon | 1972 |
| Vera Badings | Royal Concertgebouw Orchestra | Bernard Haitink | 1978 |
| Osian Ellis | Academy of St Martin-in-the-Fields | Neville Marriner | 1984 |
| Frances Tietov | Saint Louis Symphony Orchestra | Leonard Slatkin | 1984 |
| Lisa Wellbaum | Cleveland Orchestra | Pierre Boulez | 2002 |
| Ursula Eisert | South West German Radio Symphony Orchestra | Sylvain Cambreling | 2004 |
| Emmanuel Ceysson | Orchestre National de Lyon | Jun Märkl | 2011 |
| Catherine Beynon | Luxembourg Philharmonic Orchestra | Emmanuel Krivine | 2011 |
| Gulnara Mashurova | Singapore Symphony Orchestra | Lan Shui | 2019 |
| Marie-Pierre Langlamet | Berlin Philharmonic Orchestra | – | 2019 |