Debussy, Claude

the short score notated in pencil on three printed staves, without instrumental indications, comprising a B natural pedal point in the top (treble) stave, accompanied by chords in the two (bass) staves below

1 page, oblong c.10 x 25.5cm, 7-stave paper, cut from a larger sheet of music paper, no place or date [first half of 1909], remains of mount, some spotting

C. Debussy, Le roi Lear ; Le diable dans le beffroi ; La chute de la Maison Usher, edited by R. Orledge, (Paris 2006); source A3 (p.90). R. Orledge, Debussy and the Theatre (1982), pp.109-124

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is an important early sketch-leaf for an uncompleted opera by Debussy, which has not been available for recent scholarly inspection.  Based on Edgar Allen Poe's The Fall of the House of Usher, the opera occupied the composer from 1908 until 1916.  These bars must be among the first musical sketches for the work, comprising an early draft of the Prelude. Debussy presented a slightly more developed version to his wife Emma for her birthday on 11 June 1909.  Later, in his working score of 1915-1916, Debussy crossed out this passage, most probably because he wished to use it in the opera itself, where is appears in a monologue for Roderick Usher.  Sotheby's is grateful for the kind assistance of Prof. Robert Orledge in cataloguing this item.