The platypus, you see, is a very odd Australian creature that lays eggs like a reptile and suckles its young like a mammal. When it was discovered, the platypus gave zoologists fits because it didn't match their hallowed, established niches, and they were grudgingly forced to invent an entire order called "monotremata" (at the same level of importance as mammals and reptiles!) — containing just the platypus.

And as I said, La naissance de la lyre is a platypus. It contains spoken lines, choruses, arias and ballet. Yet it isn't a play with incidental music; the music is too dominant. It isn't an opera; there's too much spoken text and dancing. It isn't a cantata; it has too much of an acted storyline. It isn't a ballet; there's too much singing and talking. It isn't even an opera-ballet like Padmavati, because of all the spoken dramatics. Perhaps we must be content with Roussel's own designation, conte lyrique (lyrical tale). The monotremata of the musical world.

Being a platypus isn't conducive to getting performed often, and so La naissance has languished in predictable neglect. That's a shame, because even though this experiment in format wasn't a success, neither was it a total failure. Perhaps there aren't the shining moments of vocal magic as in Padmavati (e.g., the Brahmin's song or Nakamti's song), but some moments stand out nonetheless, such as Apollo's awe and delight when he first plays the lyre, and the humorous antics of the satyrs. Also, the ballet sections are the equal of those in Padmavati and are a fascinating rehearsal for Roussel's later ballet masterpieces, Bacchus et Ariane and Aeneas, also on classical Greek themes.

The story explains how Apollo became the god of music. His brother Hermes, young at the time and thus sung by a soprano, steals his brother's cattle. Apollo is aided in his search for the cattle by Silene and his sons, the satyrs. When caught by Apollo, Hermes escapes punishment by playing his newest invention — the lyre. Apollo, entranced by the instrument, accepts it in exchange for the stolen herd. As Apollo demonstrates his divine talent for the lyre, nymphs and satyrs celebrate the brother's reconciliation in a dance.

The libretto was by Theodore Reinach. It has been said that Roussel undertook the work primarily as a mark of esteem and friendship for Reinach. Whether that is true or not, La naissance suffers from its text. The music is frequently interrupted by speech, depriving the work of continuity and coherence. Yet despite all the problems, Roussel's music captures the popular conception of Greek art: restraint, poise and clarity.

The orchestral suite that Roussel extracted, consisting of the prelude, quest of the satyrs, quarrel of the nymphs and satyrs, Hermes' grotto, and the dance of the nymphs and satyrs, is well worth hearing. This version of the music isn't a platypus, and its neglect (it has never been recorded commercially!) is to me incomprehensible.

One little snippet of music from La naissance has made it onto CD — in a manner of speaking. The Duo for bassoon and double bass from 1925 is a set of variations on Silene's theme (see "How does it sound?" below).

The satyrs and their father, Silene, are characterized by sprightly, sometimes comic music as they scurry around looking for the lost cattle and later celebrate the happy ending. The music for the satyrs, largely dance music, would not be at all out of place in Roussel's later ballet masterpiece, Bacchus et Ariane. For example, listen to the rhythmic vigor and joie de vivre of Silene's first entrance (114K), which Roussel later used as the theme of the Duo for bassoon and double bass.

The melodies of this work are more straightforward than those of Padmavati, since the Greek scales are more limited than the Hindu. From time to time the use of the modes is refreshingly pure and simple and the flavour is not too self-consciously archaic.... This may not be an important work, but it is well worth performing. [Norman Demuth]

The friends of the composer also found in the character of La Naissance de la Lyre a reflection of the calm happiness that he came to find in the rustic scenery of Vasterival [Roussel's newly-purchased home]. [Marc Pincherle]

In the "lyrical tale" The Birth of Lyre, the music's center of gravity also lies in the ballet scenes. [Harry Halbreich]

The inadequacies of the text and the unsatisfactory nature of the composite medium explain the neglect of La Naissance de la Lyre in its original version. But the most essential part of Roussel's contribution is contained in the symphonic suite extracted from the work, and it is in this form that the music is most likely to survive. [Basil Deane]