We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysa˜e's first American tour in 1894-95, whichat one stage was described as a concerto. Then, as Debussy was putting the finishing touches to L'AprŠs-midi d'un faune in1894, he told Ysa˜e he was now working on three Nocturnes for solo violin and orchestra which are destined for you, and which undoubtedly derived from his earlier Twilight scenes. The first was to be for strings only; the second for three flutes, four horns, three trumpets and two harps; the third combines all these instruments. He also informed Ysa˜e, perhaps with Whistler's Nocturnes in mind, that they were to be like a study in grey in painting. Debussy only abandoned this project in November 1896 after Ysa˜e told him he would not be able to premiŠre the Nocturnes in Brussels for financial reasons?.
My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the twilight?theme in B major beginning on solo cello and double basses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: noneof them relate to the orchestral Nocturnes of 1897-99. -Robert Orledge