ABSTRACT
This chapter looks to the compositions and articles/memoires, some by his former pupils, to interpret how they respond to and reanimate Paul Dukas. As Dukas largely stopped composing after his ballet La Peri, it is perhaps difficult to pin down his compositional career in periods across his life. The chapter presents the context of the journal and of Dukas’s contribution to other tombeaux. It explores the articles and memoirs published in the special volume of La Revue musicale. The chapter describes the musical contribution of the tombeaux, with special focus on the piece by Dukas’s former student Tony Aubin. In so doing, Dukas’s legacy can live on, but moreover his memory as inscribed in this tombeau collection offers but one contemporaneous perspective on Dukas’s legacy, which is subject to change and reinterpretation. Perhaps he aspired to open pupils up to a new world of international, not only national, influences.
