Debussy should have adamantly refused to consider any proposals for new works, since he was determined to finish “Gigues” and to continue working on the Poe dramas and the Préludes for piano, in addition to having just agreed to a ballet commission. But then in Vienna he received an unexpected letter, written on beautiful paper in spectacular, large script and postmarked 25 November 1910 from Arcachon; in that letter, Gabriele D'Annunzio told him that he loved his music, discussed a “long-contemplated mystery play (mystère),” and asked him: “Do you like my poetry?” Instead of waiting until he returned to Paris, Debussy responded from the Krantz hotel, where he was staying: “How could I possibly not love your poetry? The very thought of working with you already makes me feverish.” When he returned to Paris on 7 December, Debussy found that a sort of conspiracy had been organized to ensure his immediate acceptance. Accompanied by Gabriel Astruc, who played the role of impresario as director of the operatic season at the Châtelet, D'Annunzio had paid a visit to Emma and had no doubt used his most flowery rhetoric to win her over. A few days later, Astruc wrote to her as follows: “Your gracious welcome and words of wisdom have given M. D'Annunzio and me confidence in the eventual success [of our project].” In turning on the charm, D'Annunzio did not forget to include Chouchou.

Origins of Le martyre

The matter was carried out so quickly that Debussy scarcely had time to think about it. On 9 December, he signed a contract to write the music for a Saint Sébastien (whose title did not yet include Le martyre de) that was to be a drama in four acts, comprising four symphonic preludes, three dances (“Charbons ardents,” “Planètes,” and “Passion de Notre Seigneur”—that is, Burning hot coals, Planets, and Passion of Our Lord), a “madrigal for 5 voices (optional),” and finally the “Lamentation des femmes veuves et Finale” (Lamentation of the widows and Finale). The deadlines were specified as follows: the piano score of the three dances created for Ida Rubinstein would be expected by the end of February 1911, with the orchestral score and parts “in time” for the rehearsals planned for late April.