This orchestration was not carried out under the compulsion of any health measure whatsoever: it was inspired in the first place by a letter from Debussy to Sacha Guitry, in which the composer explained to the writer that he had originally intended to orchestrate Pelléas for a chamber ensemble, but that under pressure from the Opéra Comique, he had decided to use the full symphony orchestra. 
A quick perusal of Debussy's score quickly reveals that the vast majority of nuances range from “piano” to even softer nuances, right up to quadruple piano. 
On the other hand, doubled and tripled instruments (third trumpet, for example) and powerful tutti instruments (tuba) have extremely little to play: all this indicates that the composer had an intimate mood in mind. 

This, to explain the intentions. As for the realization, we absolutely insist on the fact that this reduction was made in strict compliance with the combinations chosen by Debussy, i.e. each of the orchestral moods and colors should be found. As often as possible, I've used the same instruments, especially in the solo passages. The piano reinforces the harmonies and plays a “central” role in terms of verticality. Far from being a “filler”, it is there to remind us of Debussy's deep roots, as all his music comes from the piano. It should be heard very little (to avoid the “concerto” effect), but felt everywhere. 
I alternated between piano and strings for the many “pizzicato” chords that underline the narrative parts, one of the many acoustic discoveries I made during the first production of this reduction, during which I made hundreds of alterations. The use, every other time, of the piano or harp to replace the strings in the “pizzicato” renders a stronger effect than the strings alone, so the thinness of the pizzicato tuning by a string quintet is compensated for by the diversity of timbre with the piano and harp. 
Another important modification is the use of the double bass, which plays much more than in the original score, as the cello alone does not convey the depth of the low notes.
Also, the choice to use mute from beginning to end for the horn and trumpet are choices dictated by listening to the first rehearsals. As soon as we tried a passage with the instrument open, it sounded far too present compared to the others. We therefore strongly recommend leaving the mutes on from beginning to end for these two instruments.
The percussion and timpani also had a few additions, to reinforce the score's few large tutti passages. Where they weren't necessary for the full orchestra, they proved to be very effective in the reduction.
Last but not least, we insist on the need to preserve the soloist line-up:
Doubling, especially of strings, upsets the balance and creates a sound that no longer blends with the orchestral combinations that had to be recomposed to achieve the same effect as the original, but “smaller”. 

The purpose of this chamber orchestration is to enable Pelléas to be performed in venues and theaters that do not have the space to accommodate a large orchestra of 70 musicians, and to make it easier for a production to travel. Every element of this orchestration has therefore been carefully calculated to render, acoustically, the same effect as a large orchestra in a large theater. It is therefore necessary to keep the soloists as they are:


2 violins, 1 viola, 1 cello, 1 double bass
1 flute, 1 oboe, 1 clarinet, 1 bassoon
1 horn, 1 trumpet
1 piano, 1 harp, timpani, small percussion instruments (cymbals, triangle, tube bell)

PELLEAS ACT 5

PELLEAS ACT 4

PELLEAS ACT 3

PELLEAS ACT 2

PELLEAS ACT 1

Composer, Conductor, Pianist Frédéric Chaslin is composer at Universal Edition, Vienna. He's been Music Director at the Opera de Rouen, France, Nationaltheater Mannheim, Germany, the Jerusalem Symphony Orchestra and since 22 years resident conductor at the Vienna State Opera (Wiener Staatsoper)

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