To come back to Godet’s musical beliefs, I think he was the prime mover behind that series of 'Pelléas et Mélisande' performances in Geneva with Rose Féart (who had studied the role of Mélisand with Debussy) in the title role. I suppose that Godet’s presence and proselytizing among us must also have been responsible for that first performance of Debussy’s Violin Sonata, a few weeks after Debussy’s death in 1918, in the strangely moving atmosphere of a little parish assembly hall in the shadow of Geneva’s cathedral.