These orchestral pieces (I. From Dawn till Noon on the Ocean; II. Play of the Waves; III. Dialogue of Wind and Sea) were performed for the first time at a Lamoureux concert in Paris, October 15, 1905. Camille Chevillard conducted.

Debussy wrote in August, 1903, from Bichain to his publisher Jacques Durand[24] that he was at work on La Mer. “If God will be good to me the work will be in a very advanced state on my return [to Paris].” He wrote later that the sketches would have three titles: Mer belle aux Îles Sanguinaires; Jeux de vagues; Le Vent fait danser la mer; and in September he said the work was intended for Chevillard. In September, 1904, he wrote from Dieppe, “I wanted to finish La Mer here, but I must still work on the orchestration, which is as tumultuous and varied as the sea (with all my excuses to the latter).” In January, 1905, he was not sure that the title, “De l’Aube À midi sur la mer” would do: “So many contradictory things are dancing in my head, and this last attack of grippe has added its particular dance.” He also wrote that he had remade the end of Jeux de vagues. He was disturbed because Chevillard spoke of the difficulties in the music, but if he gave the score to Colonne there might be a row. In July and September, 1905, he complained of “very curious corrections” made by someone in the proofs; and the idea of a performance at Chevillard’s first concert seemed to him as bad as a performance at the last one of the season. At rehearsal it was found that the proofs had been badly read.

The Sketches, dedicated to Jacques Durand, were published at Paris in 1905. Debussy made an arrangement for two pianos; AndrÉ Caplet made one in 1908 for three pianos.

La Mer is scored for piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons and contra-bassoon, four horns, three trumpets, two cornets-À-pistons, three trombones, bass tuba, kettledrums, bass drum, cymbals, tam-tam, glockenspiel, two harps, and strings.

Debussy and the Sea

Debussy loved and respected the ocean. In 1905 he wrote from Eastbourne: “The sea rolls with a wholly British correctness. There is a lawn combed and brushed on which little bits of important and imperialistic English frolic. But what a place to work! No noise, no pianos, except the delicious mechanical pianos, no musicians talking about painting, no painters discussing music. In short, a pretty place to cultivate egoism.”

At Le Puy near Dieppe, August, 1906: “Here I am again with my old friend the sea, always innumerable and beautiful. It is truly the one thing in nature that puts you in your place; only one does not sufficiently respect the sea. To wet in it bodies deformed by the daily life should not be allowed; truly these arms and legs which move in ridiculous rhythms—it is enough to make the fish weep. There should be only Sirens in the sea, and could you wish that these estimable persons would be willing to return to waters so badly frequented?”

Houlgate, 1911: “Here life and the sea continue—the first to contradict our native savagery, the second to accomplish its sonorous going and coming, which cradles the melancholy of those who are deceived by the beach.”

Pourville, August, 1915: “Trees are good friends, better than the ocean, which is in motion, wishing to trespass on the land, bite the rocks, with the anger of a little girl—singular for a person of its importance. One would understand it if it sent the vessels about their business as disturbing vermin.”