¹ See Helbé, Jacques, Paul Dukas, 1865–1935 (Paris: PMP, 1975)Google Scholar; Samazeuilh, Gustave, Un musicien français: Paul Dukas (Paris: Durand, 1936)Google Scholar; and Minors, Helen Julia and Watson, Laura, eds. Paul Dukas: Legacies of a French Musician (London: Routledge, 2019)CrossRefGoogle Scholar.

² We might recall here Ambroise Thomas's famous statement: ‘what musician would want to debase himself to teach the symphony?’ Cited in Hart, Brian, ‘Vincent d'Indy and the Development of the French Symphony’, Music and Letters 87 (2006): 237CrossRefGoogle Scholar.

³ In addition to La Revue hebdomadaire, he also wrote for La Chronique des arts et de la curiosité.

⁴ See Abbate, , ‘What the Sorcerer Said’ in Unsung Voices (Princeton: Princeton University Press, 1991): 31–58Google Scholar; Caballero, , ‘Silence, Echo: A Response to “What the Sorcerer Said”’. 19^th-Century Music 28/2 (2004): 160–82CrossRefGoogle Scholar; and Parakilas, , Ballads without Words: Chopin and the Tradition of the Instrumental Ballade (Portland: Amadeus Press, 1992): 223–4Google Scholar.

⁵ Mark Clague views the use of Apprenti in an animated film as ‘building on nineteenth-century conceptions of art music as a moral force for community uplift’. See ‘Playing in “Toon”: Walt Disney's Fantasia (1940) and the Imagineering of Classical Music’, American Music 22/1 (2004): 92Google Scholar.