It is interesting to discover the attitude that the same personality may have towards famous men, who are not much loved and possibly not in keeping with a shared ideal.
This is D’Annunzio’s case with respect to Giacomo Puccini. This was a relationship which did not have any positive outcome, owing to the Bard’s “negligence” in meeting the Composer’s requests to create a new work, which Puccini himself strongly desired.

D’Annunzio behaved in a totally different manner towards Claude Debussy, in his stubborn search for a contact with the French musician, with the purpose of creating a new melodrama in a surrealist style. A this point the issue is likely to become rather complex, as the question springs to mind regarding the different attitudes displayed by the Poet, probably not due to political factors, but to mere like/dislike reasons; indeed D’Annunzio was often the victim of such earthly feelings.

As we focus on the relations between D’Annunzio and Debussy, we may quote a statement made by Cesare Mazzonis, included in the well-constructed Foreword to the book: “Mon cher ami” (Letters 1910-1917) covering the correspondence exchanged between D’Annunzio and Debussy, edited by Guy Tosi: “Cooperating in a theatrical work offers a great advantage: it forces peacocks to narrow their tails in order to step together in the “portes étroites” of common work. And here we have D’Annunzio (…..) carefully handcrafting his verse, displaying availability, sending additional verse requested by the musician, offering more to be freely selected from, recommending that even a whole episode be discarded should it not prove satisfactory.”

Debussy with his daughter ChouChou

This is an important piece of evidence, as the direct opposite occurred with Puccini. In this regard, reference may be made to the volume: “Caro Maestro” by A. Bassi, published by De Ferrari (Genoa) under the Puccini entry. The long approach course leading the Bard towards Debussy had started in 1910, with a letter written by the Poet from Arcachon, and dated 25 November 1910.
We are quoting here the most significant passages: “Dear Maestro, one day, long ago, on the Settignano hill where the most melodious Tuscan sculptor was born, Gabriel Mourey emphatically talked to me about you and Tristano. In those days, I already knew you and cherished you. I used to belong to a small artistic coterie in Florence, were a few serious artists professed a real veneration for your work and displayed great fondness for your “reformation”.
In those days, as still today, I was in pain for my inability to write the music to accompany my tragedies. And I thought about the possibility of meeting with you. This summer, while I was writing a Mystery I had long meditated on, a lady friend sung to me your most beautiful songs, with that inward voice they require. (…..) Do you like my poetry? Two weeks ago, in Paris, I was tempted to knock at your door. Somebody told me you were not in.
Now “I can no longer be silent”. I am asking you to please accept to meet me and listen to what I would like to say to you regarding my request (…..)".
Debussy’s response from Vienna was very quick, dated 30 November 1910:
“Dear Maestro, your letter reached me here, where I am spending a few very boring days. I apologise for not being able to immediately express to you the joy your letter gave me. How could I possibly not like your poetry? In fact, the idea of working with you already makes me somehow feverish. I shall be back in Paris around 20 December. Do I need to state how pleased I would be to meet you? (…..)”.
From that very moment, the fruitful cooperation which was to result in the “Martyre de Saint Sébastien” started.

Everything proved positive, save for a few difficulties resulting from unalterable engagements on both sides. It seems however impossible not to constantly compare this situation with the Puccini relationship, as D’Annunzio never showed any readiness to send his writings to the latter composer.
This did not happen with Debussy, since, besides making the drafts readily available to him, he would personally deliver them on his doorstep. We can refer here to a telegram from Arcachon, dated 9 January, 1911, in which this aspect clearly transpires:
“I am personally bringing the third act to you, as I need your advice. I will be at Hotel Jena by Wednesday morning, and I’ll ‘phone you from there. My compliments to Madame and love to Chouchou. G. D’Annunzio”.
The Bard’s haste led to his next message, written from Paris on 11 January, 1911: “Dear friend, I’ve just arrived. Here is my first “Ave”. You will find the manuscript in your letterbox. If you have time, I would appreciate your glancing through it today. I shall not be free earlier than this evening. I could therefore come and see you this evening or tomorrow towards 2.00 p.m. If you will have already read the material, our work will be easier. The choral parts have been drawn up for the book which, regrettably, is deprived of music You may choose the verse you prefer. But we shall have time to talk about all this. I look forward to your feedback in order to make my own arrangements. San Sebastiano sent me a telegram from Milan asking me to convey his heartfelt greetings to you. See you soon! Yours. G. D’Annunzio”.
After these essential preambles, the “technical” letters started, where comments regarding style, music and other formal aspects emerge in connection with the work which was gradually taking shape.
Here is one letter, covering the text produced by the Poet, and written from Arcachon, on 13 February 1911:
“My dear Friend, I am sending you the complete text for the first act. You will easily find the first cry by the Emesia archers: “Sébastien! Sébastien!” after the scene where the Saint hands the bow, the quiver and the bracer over to Sanaé. And it is at this point that the music starts “glowing”. In the notes you will also find the precise point in time when the dance starts, as the Saint enters the burning square. (…) I will certainly resort to a more solemn tone for the Canticles of the Blessed. I expect you will be satisfied with the “mystery” in the second act. When the large door of the magic Room opens, the air is already full of enchantment and of what could be called “the immemorial memory”, the memory which we no longer recall. See you soon, dear brother. I am pleased with the news of improvement. I am sending you all the beautiful golden light that is the breath of ocean spring. Gabriele D’Annunzio”. Eventually, the work was completed in a peaceful and strongly constructive manner, thus enriching musical literature with a masterpiece which still represents a significant landmark in the history of music.
An umpteenth letter sent from Paris, dated 19 June, 1911, bears witness to this historical event, and it is Debussy himself who announces to the Poet: “Dear brother and friend, what a nice book! And what a wonderful work indeed! I have re-read it all, and with pure joy, no longer disturbed by the heavy presence, by the contradictory rumours, by the artificial sensation that the stage creates around beautiful things. I did not want to trouble you with a further appointment, as I expect you will be even too busy, but I would like to see you and personally hand over to you the full score of “Saint Sébastien”.
However, I am leaving for Turin this evening, to conduct a concert. Will you be here upon my return, on the 22nd of this month? I hope you will not take this joy away from me and please trust my deep affection. Claude Debussy.
Will you arrange for the collection of the score that I am leaving for you? I do not wish to entrust it to the indifference of the Postal Service!”
Such an important cooperation had led to a sensational result and, after so many years, we are left with a highly enlightening example of respect and granitic willingness to reach such a magnificent goal, where music and poetry blend into perfect symbiosis.
We can close with a touching letter from Madame Debussy to D’Annunzio, written on 20 November 1932, when the composer had already died, which shows how the Bard had been affectionately remained in touch with the Debussy family.
The letter reveals the emotions and respect Madame Debussy felt for the Poet: “Dear Maestro and friend, at the unveiling of the memorial for your dear Claude, your names appeared indissolubly bound together. After that, everyone has been asking me whether I had any letters from you. Having always been ill, I have been unable to write to you earlier about this. I have often read your precious letters, which brought my memories back to those wonderful years, so tender and hard at the same time. Would you agreed to have the letters from brother Claude in France copied and authorise me to have them published together with yours? Could you be so kind as to let me have your reply as soon as possible? With heartfelt and true admiration. Emma Debussy.” Real life records and precious icons of a long creative journey, which offer to all of us a cross-section of deeply and valuably experienced life.
To close, here is a statement by Mazzonis, which summarises the ideas that were spreading in that particular historical period: “D’Annunzio seethed with the various theories affecting the theatre and Debussy could not avoid “that” allurement (“and did not marvel but gave himself wholly and purely”, as the Bard modestly recalls). We are referring here to an issue in which we continue to be up to the chin”.
Posterity will be the judge of it!!
Translated by interpres sas