When I composed La Korrigane, Franck said to me: “I have just composed an opera, Hulda, and there is a ballet in it. Are there some choreographic necessities of form, substance, movement, and contrast that are essential? I have been guided by the choreographer Louis Mérante, who showed a bit of the way to me, but I’m unsure. In any case, either at your place or mine, I’m at your disposal to tell you in detail the things that have been imposed on me.” Three weeks went by without me meeting Franck, so I wrote to him: “I’m still waiting for you.” In response to this letter came the following reply: “I don't need your advice anymore, I don't want to bother you.” I wrote to him again: “Have you met with Delibes?” —“No, but I don't need advice. My ballet is very danceable. The other day I had my piano moved into my bedroom, and there, in a nightshirt, I set the rhythm of my ballet by following the music that Mme Franck was playing on the piano!”