Lecture 21. Musical Impressionism and Exoticism: Debussy, Ravel and Monet
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Now today we're going to be talking about musical impressionism. Next time modernism, but today musical impressionism. Impressionism uh generally speaking is a period in the history of music running from 1880 to 1920. It's mostly a French phenomenon although it did expand as we will see to England and to Italy and to the United States even to some degree.
We have the American Impressionist School of Art for example. Uh let's turn to the board here and visit some familiar uh names and faces you know of the painters Manet Monet Renoir Alfred Cece Camille Pizaro and the American interestingly enough American woman Mary Cassat anytime an art museum needs to raise cash what sort of exhibition do they put on a blockbuster exhibition of impressionist painting that's what brings everybody in It is the the locust somehow of what art is supposed to be. Everybody loves these impressionist exhibitions, whether it's Boston, New York, Chicago, wherever it might be. So, we have those artists.
We also have the poets, though, interestingly enough, they're not called so much impressionist poets. They're called the symbolist poets. And I'm sure in literature classes and in French classes, you have studied some of them. uh Charl Bodilair, Paula Verin, Arto Hambo and Stefan Malar. Turning now to the composers, the most important of these really is Claude Debuse.
He sort of started this school of French composition, the impressionist style. Uh we list others up there. Maurice Rall, we've bumped into Bolero of Rall. Gabrielle For wrote some beautiful impressionist music.
You may have heard of parts of the foray reququiam from time to time. Otterino Raspigi, an Italian suggesting that this also got to Italy and the American Charles Griffith who died of the influenza in New York City but wrote some impressionist um piano and orchestral music. Uh in terms of the works of these individuals, we've listed more over here for debutc than anyone else. Uh claon that we're going to be talking about uh today.
That's important. Uh prelude to the afternoon of a fawn. We'll be uh hearing some of that. And you have your listening exercise 40 on prelude to the afternoon of a fawn.
Uh other orchestral pieces uh Nocturn sort of night mood pieces laare a big orchestral uh composition uh emage more uh uh orchestral works and then preludes for piano and we'll be uh foregrounding those preludes for piano um here today and a couple of pieces that we list on the board. the undine from Gaspad de Lanui uh that will be performed for us later in the hour today and the bolero that we have mentioned before. So those are the players. Uh let's take a look now at at what this music sounds like. I'm going to start with playing some of this piece that you all know.
I'm sure you've heard this before. Claire DeLoon 1890. [Music] and we'll pick it up from there in just a moment. But obviously we've talked a little about this before, this general relaxation caused by the falling down motive only to rise up at this point. But also of interest here is the absence of any kind of clear-cut meter.
That's I think the big ticket item here. You'd be hardressed to tap your foot to this to conduct this in any way. So that takes us through oh the first 12 15 bars of this piece. Now a different kind of music.
Just pause on this for a moment. I'll be um emphasizing the phenomenon of parallel motion today. Parallelism today. And here's a moment of that.
All the voices that probably have six different notes. in that chord, but the next one all six are going in the same direction rather than have going in the opposite direction. We'll continue to elaborate on that as we proceed. [Music] Okay, now another idea comes in here. Lovely. Really nice.
Could be shopan, right? That kind of rich sound with a almost guitar like accompaniment underneath it. But something really neat happens here. We have this chord and then we have this [Music] chord.
Kind of a surprising or shocking unexpected chord. So that's something else we get here with this impressionist style. Unexpected chords, new chords. Uh we might have normally then we could [Music] go that's kind of Beethoven type sound.
But here we get going to not chords a fourth or a fifth away but chords just a third away. Okay. [Music] Well, that's another interesting moment. We've had we've got this sound here to begin with. Well, that's kind of and then the next chord is we haven't had those chords before.
We've had major triads. We've had minor triads. We've had diminished triads. And now we got the the kind of flip side of the diminished triad.
The augmented triad. This is the fourth of our triads. Major got a a major third on the bottom and minor third on top. Minor changes those around.
Minor third on the bottom. Major on top. Major. Minor.
Then we could have we got this sharp biting chord called the diminished. If we have just two minor thirds, it's the most narrow of the of the triads. But supposing we had two major thirds in this [Music] aggregate. Yeah, that kind of sound.
Well, it's a little bit weird. So, we get once again a new chord here with the impression is the augmented triad. And they like to kind of pile them up in this fashion. It's a different sound.
Kind of a a strange sound. All right. Well, that's a little bit of Claire DeLoon of Claude Debutc and that introduces us to the impressionist style. We're going to move on now to first the first uh orchestral piece of Debutc and that's the prelude to the afternoon of a fawn that's uh listed on the board there.
In 1894, uh, Debusy lamented that he had never created a masterpiece. Well, he sort of did with this piece. It's a really a wonderful, wonderful composition. Goes about 10 minutes and you've got the full uh composition there on your CD number five.
Uh, what can we say about it? Well, first of all, prelude to the afternoon of a phone. It's point of inspiration was a poem by Stefan Malerme. Maller May was a an aesthetic mentor of debutc.
They were close friends. Once a week they would meet and talk about aesthetic issues uh in Paris on the Bulvar Parnas area. Uh so he Malerme had written a poem called the afternoon of a fawn. Now, this fawn here is not f awen, the little baby deer type fawn, but f a n, a sort of randy sat, uh, half man, half beast who spends his afternoon in pursuit of sexual gratification in the heat of the of the midday sun.
So, it's a bit more uh sexually supercharged than the story of Bambi. Uh let's go on and and think about uh the type of music that we're about to hear uh here. Uh it's a different kind of music and maybe the best thing to do is just jump into it for us. It's difficult to appreciate how strange this must have sounded.
We're kind of used to this sound. We've got you maybe you've heard augmented triads and there a lot of major seventh chords in WC. Sounds a bit like a jazz chord. Yeah. because jazz performers like that sound.
They they heard it in an impressionist and and they they they they uh um drew it into their their music. So there are strange chords here, but there's also strange orchestrations. And once again, it's we should remember how unusual this must have sounded at the time it was created. So let's listen to a little bit of the prelude to the afternoon of a phone.
Picking it up about it's a internary form. We're picking it up and return to A. See if you can tell me what the meter is here. [Music] Okay, let's just pause it there for a moment. Anybody know what the meter is?
No, I don't either. I'd have to look at the score, and I never look at the score for this course. That seems like cheating. I shouldn't have any more advantage than you do.
So, it's a little hard to know what it what it is there. We I'd really have to go get the music and find out what it is there. Uh you heard kind of little harp gissandos in the background. We'll be talking more about that.
The harp playing away their arpeggios periodically. D ord just little dabs of color underneath by way of a supporting accompaniment. So let's listen to a little bit more uh here. focus on the flute line that's got the melody, but it's a kind of different melody than the melodies that we have been listening [Music] to. Passed it to the obo. [Music] Okay, pausing it there.
So that [Music] melody was a kind of like a a rouad uh kind of ill-formed in a way. It would it's a it's very beautiful but it's kind of difficult to sing. It's chromatic. It doesn't have any regular structure to it.
Uh and this is typical of the impressionist approach to melody. Well, as I say, this was somewhat shocking at the time. This is Debut's response to a poem. And you have the poem there.
It's given to you on the sheet for today. Everybody got the sheet? We're not going to read it because we don't have time for it. It's a good example.
However, it's a wonderful example of this symbolist poetry where the meaning comes not from any kind of logical uh u semantic no uh syntactical presentation of ideas, one word following the next in a logical fashion. but just sort of placing key words at interesting moments that stimulate our thinking. Uh have these words have resonance in and of themselves. Uh and I think that in some ways gets to the essence of this symbolist poetry. So you can take a look at that uh on your own there.
Uh so Debusy was not trying to write program music here. He was just trying to use this as a point of point of inspiration. Um and here's what he said at the time about his approach to this piece. quote, "The piece is really a sequence of mood paintings throughout which the desires and dreams of the fawn move in the heat of the afternoon." So, Malerme then went to the first concert of this of this piece, and here's what he said in turn about Debutc's music. Quote, I never expected anything like it.
The music prolongs the emotion of my poem and paints its scenery more passionately than good colors. Paints it paints it. So music as painting. Well, with this idea of music as painting because these two artistic disciplines can't be separated really from one another.
Let's turn to our first slide for today and we'll see how this works. What's this? Anybody know this? kind of a classic of impressionist painting like Grenuia the frog pond uh painted by Monet I don't know the date probably [Music] 187475 I would guess um and we get kind of this general impression of it if we look however at the brush work of it and let's go to that a kind of closeup up we we see here we are that it's really made up of a series of individual gestures. Here's a mark there, a mark there and so on.
But when we let's go to the next slide, stand back, we do get this sort of shimmering impression and there'll be a lot of that the same kind of effect worked out in music. Yes, you can have a chord, but that chord could be played as an arpeggio and you could pedal with it and you could play it very rapidly and you wouldn't notice the individual notes. You would kind of get the effect of the impression of this general wash of sound. So that in some ways is a similarity here between these two artistic disciplines.
Uh let's go on to the next or maybe that makes that point. Oh no, this is fine. We're going to go on to a sailboat here now. Um, and we need mention where this comes from, but this is a picture of sailboats sort of luffing uh more or less listlessly at at anchor here at a harbor probably out near Arjentua a few miles to the west of Paris.
Uh, and with this as something of a visual setup, let's turn to the next piece by Debutc. It's one that you have on your CDs. It's called vo or sales from these preludes for piano of 1910. And I'm going to start just by playing and then we'll talk about what it is that I'm playing. [Music] Okay, stop there.
All of that music up to that point is made up out of a new kind of scale. Scale we haven't talked about before, but now's the time. It's called a whole tone scale. Remember when we have our octave with our m take a major scale in there, our octave divided into seven different pitches, five whole steps and two half steps.
Uh but supposing we we traded in those two half steps for one whole step. So instead of going C to C in that fashion, we would be going now I got to do a whole step. So that's a whole tone scale. All whole tones within the octave for a total of six of them there.
Just converting two half tones into one whole tone. So all of this business and so on just running up and down a whole tone scale. All right. Then at this point where we stop well underneath there uh you're you're listening to the whole tone scale up above but underneath we're getting kind of a rocking at anchor.
What is this in music? You just repeat something over and over again. AJ ostanado. Thank you very much.
So we have ostanado coming back into music here in the impressionist period. Uh they were there in Baroque music. They kind of went out of fashion in the classical period and in the romantic period. Romantic is too expansive for ostanado, but they come back in here in impressionist period and they're really important in the modernist period.
So it's a harbinger of things to come in the modernist period. All right. Now, let's go on just a little bit [Music] farther. Well, you can hear the ostanado up above.
And that's a good example of parallel motion. All the chords going up and going down at the same time. All right, stop there. What's that?
Well, it's a classic example of a of a gissando, right? We use that a lot in television stuff. What's behind curtain number three? tell us Vanna or whatever. Um, so it's simply playing a arpeggio, an arpeggio in very rapid, very rapid family kind of or you could fashion that'd be another sort of gissando just playing every white note or every black note.
Okay. Up on the keyboard. So I have this [Music] All right. Now, let's talk about the scale we have here because he's actually changed scales.
We did have whole tone, but now we get a pentatonic scale just using five notes. We've bumped into the pentatonic scale before. Anybody remember when way back early on? Roger.
Oh, I didn't hear that. A little bit loud. Uh, yes, to some extent. It was in that lecture when we were talking about blues.
Blues tends to use more of a six note scale. Um, but it was at that very point. What kind of music was it, Emily? Chinese music.
Good for you. Chinese music. We had the moon reflected in the distant pool and it was played by an aroo. Well, here we have another five note scale.
Uh, they involve whole steps and minor thirds. Simplest way to think of it is just the black notes of the keyboard. And that's kind of what he's using here. Now one other interesting thing going on and that is the combination of which is what he's doing here of parallel motion and the pentatonic scale because that conjure up any now Chris is smiling down here.
Why are you smiling Chris? What does that remind you of? What uh The far east. All right.
The far east indeed. But when I was a kid growing up, if I heard, I would be watching Indians coming over the horizon in the west and the good guys or the bad guys are chasing around. It was a sign of the Indians. What this was, what this became in terms of film music was a kind of racial stereotyping.
We had us and us went along in major and minor scales and we had these other people who generally moved in parallel motion and used a lot of pentatonic sounds. So the people in Hollywood were we're painting here ethnically with a very kind of blunt brush. It was us in Hollywood in major and minor and functional harmonies and it was them who went around in pentatonic scales um and in parallel motion. It's a very interesting kind of moment there in the the history of of American musical culture uh in in a way.
Uh so in any event, that's that's what we have in this particular piece. Debutc is using this here and I'll come back to this a little bit later on because Debutc was very much influenced and we can document where and why very much influenced by the orient by the east. He was hearing these eastern sounds in Paris beginning in 1889. All right.
Well, then this thing goes back goes back to our whole scale, a whole tone scale. And then [Music] finally, and he instructs the pedal, the pianist there just to leave the foot on that sustaining pedal there, that rightmost pedal, the sustaining pedal. So we get again this wash of sound. Okay.
Now, one other point about pedals. While I've got the while I have the I'm at the keyboard here. My heavens, look what time it is already. Um, and that is the following.
Uh, we've talked about the rightmost pedal. Gives us this kind of wash sound. What's it called once again? What's the rightmost pedal called on the piano?
Yeah. Hear it over here. Who's got it? Christian.
Okay. Who said that, please? Okay, thank you. This is the sustaining pedal, right?
It gives us the wash of sound. What's the leftmost pedal do? [Music] Um, Frederick, that's right. Moves the whole keyboard over so those hammers are only striking two strings rather than striking three strings. It makes it a little softer.
Uh, the middlemost pedal, however, uh, is a very interesting one. uh it doesn't get used nearly as much. And I was thinking this morning, I looking in my office on my Steinway upright and there is no middle pedal. Uh and that's because it doesn't get used very much, but when it does get used, it's used for um sort of special effects. Let me show you a good example in another prelude of debuty.
Um and this is a bit hokey, I suppose, but it's called the La Cathedral onluti, the engulfed or sunken cathedral. Um and of course Monaet painted uh the cathedral uh over and over again. All sorts of different views of this cathedral uh in different kinds of lights. Which cathedral was it?
Notradam dei. No any art folks here show Jacob which which cathedral is it that Mon show the next slide please. Well we can't we won't tell. It's an impression of the cathedral of Ruong which is about a 100 miles or so up the up river uh no down river toward the mouth of the Sen.
So you go uh Sen toward Harflur and you come to Ru and he painted this and Debusy also uh constructed a musical equivalent of it that goes this way. [Music] Notice all the parallel motion here. All right. So, then the sun comes up on the cathedral. Let's see if we can get the sun to come up here a little bit on our cathedral.
There we go. A little bit sunnier. Uh, and we get this kind of music. and we'll get to our um middle pedal here. Well, now Debbie is going to show you what the bells sound like on the cathedral.
But as is the case uh with most of these French cathedral bells, there is one bell. It's called the bordon. This huge big low bell. uh and he's trying to give us the impression of the bordon here and he instructs that we should use the sustain the excuse me the sustainuto pedal. This is a bit uh counterintuitive uh because we have the sustaining pedal to the right.
Now we've got this thing called the sustenanuto pedal. It also sustains but it sustains in a different way. It allows you to hit a note and hold that note and then you can play other stuff and clear that other stuff with your sustaining pedal while that note is still sounding down there. And he uses it here to get the effect of this large bell.
The other bells sound above it and then a fade out at that point. [Music] Okay. Um, so that takes us to the end of this particular uh prelude. Now, I have a a lot of other things I'd like to say about impressionist music. Very interesting stuff.
I think I'm going to cut to the chase, however, with just showing you a few slides because we have a guest that we want to talk with. Uh, and she is here and we want to move on to that. um in the textbook and you can read about this in the impressionist chapter in the textbook. Let's go on Jacob to the next slide. And the point here is the uh association of color and uh Linda if you would cue the Chakovski which uh should be uh track I guess 15 is it?
Oh Chukovski is ready. Cool. Um so we're going to make a point here and that is that musicians in this western tradition of Bach Beethovven and Mozart and so on always tie line to color in a section one day I think it was Roger where's my Roger asked me there he is back there how do we know it's a melody well one reason we know in all this complex of music that something is a melody is that in orchestrated pieces when it's melody time the composer will bring in a new instrument. It's like for it's like telling you holding up a sign again, hey, here's the melody.
Instruments are quiet, then they come in to play the melody. So, let's listen to a famous passage of Chakovsky here out of Romeo and Juliet where you work up nicely in the strings. When we get to melody time, in comes the flute playing the melody and a French horn now enters to play an accompaniment with it. [Music] Melody [Music] time. All right.
So, let's let's stop with that. Now, that's one that's one approach. But Debutc starts doing something a little bit different. He's going to start working just with color.
Just with color. A little bit if if we can get to it of an orchestral piece. But Debutc where he's using a new instrument. It's the human voice.
What's the What's the uh instrument singing here? [Music] Okay, we'll stop. Time is short. Uh, not singing much of anything. Just singing.
Ah, it's just what he wants. There is the warm sound, the stable warm sound of the human voice. And as Thomas Man said, and uh, he just brings that in. Little dab of color there. a little dab of color there.
What's interesting him is not line, but just color. He's kind of pulling color away from line. And that begins to happen here in the painting of the period. They begin to intensify color and uh separate color from line.
Here we have Matis 19 uh 09 the dancers. This is version one of this. You may not know that he actually painted this particular scene twice. Version one, notice just the kind of flesh tone colors.
Notice the position of the knees. Now we're going to go to version two. Two years later, much more intense. The position of the uh legs and the um uh hamstrings here is much more angular and we have a much more visceral response to this because of the addition of the red color to it.
And red becomes a very important color with the painters of this period. and uh they begin to take this color uh and just play with the color itself outside of line which is what debutc is doing. So let's go on to the next slide here. Here is Matis's red studio, for example, where the color red begins to overrun everything. Or in musical terms, let's go to Duffy's red violin here, where where the red varnish quality of the violin is spilling out outside of the line or normal confines of the instrument.
So, that's an interesting point, I think, to watch these two arts work in tandem at this particular moment in history. All right, I'm going to stop here and introduce our guest, uh, Naomi Woo. Naomi, come on up. I've never met Naomi.
I But it's nice to see you. Thank you for joining us today. Um, so you're a pianist here at Yale. Um Um, and we'll talk.
How are we doing out there? I I'm told that when we have guests that uh sometimes we don't foreground the guests enough, we don't Can you see? Um, okay. Okay, Jude.
Great. So, um, here's Naomi, and we're going to turn the lights back on. So, tell us about yourself nice and loud, if you would, please. Are you a music major?
Um, I'm not sure yet. I'm a freshman. You're a freshman? Yes, I am.
I actually probably won't be a music major, but I am looking to go to grad school in music, probably. Interesting. So, why did you why didn't you go to Giuliard then or Eastman? I I actually decided to come here because I wanted to do a liberal arts degree. still pursuing music.
I I like thought really seriously about going to Julliard and then realized that I didn't want to be sort of at a vocational school right now. I didn't want to be so so focused right now and I thought I should get a That's a smart move. I did it the wrong way. I went to I went to um and it was a a wrenching experience to go to the Eastman School of Music first and then go to Harvard after that. that that because you really felt like a dummy uh at least I did and rightfully so.
So you're doing it the the correct way. I think generally whatever your trajectory is in terms of your particular profession get your broad liberal arts background first and then focus more and more uh more intensely on your specialty and then subsp specialty and on it will go. So here you are taking piano uh lessons with whom do you study? um with Wii Yang at the uh he teaches at Y. Uh so so he is a faculty member of the school of music across the street and our most talented undergraduates go over there to to get their lessons and they do their practicing.
Um how many hours a day do you get to practice? Um I try to practice two hours a day but I usually can't do it every day. It's probably five days a week or something. Okay.
Well that yeah that's hard. That was the thing was so weird about these conservatories. these kid we you go down there and you go in these practice rooms and six hours later they come out. I mean they spend their entire time in there. It's like learning to be a great plumber or something like like that.
It's it's not a a very broadening experience. Um okay. So you're practicing two hours a day. Does that annoy the people all around you?
Well, there are there are great practice rooms um in the basement of Spring Hall. Okay. Uh but how I thought that was just for uh the school of music students. For the for the undergrad students who are who are studying at the school of music.
They give us keys to the practice. I see. So, you're a kind of a special group. If if Daniel decides he wants to practice over there, they're not going to let Daniel have a key to the key to the the treasury.
Uh, okay. But we are a red cross street. What are we building over there? A new music department building.
It's going to have a lot more practice uh facilities in the basement of that, principally for undergraduates. All right. So, uh this is something that always interests me. we have a little time to talk about it. Um, how good is your, you know, these kids that are good at this music business, they're good for a reason.
Um, it's because they have some talent and oftenimes this is orally perceived talent. So, how good an ear do you have? I'm not going to quiz you on this. I'd like to quiz people on this, but tell me about this.
No, I mean, I have a really good ear, and I don't know how much of that is innate or whether it's because I I've been listening to music since I was a kid. My parents were always playing music. Were they musicians? They're not musicians at all.
They music. My mom's a doctor. My dad's an economist. Okay.
So, they're into quantitative reasoning in in some kind of some kind of way. And th this is not incidental, folks. No. And and I'm actually considering majoring in math, actually.
Yeah. I I knew that was coming. So, um you may not have absolute pitch. You probably don't have absolute pitch, right?
No, I don't. No, but you probably have a very good sense of relative pitch. What would have happened if you started out? Well, what was piano your first instrument?
It was. It was supposeding you had started out on at and what how old were you when you started? I was five. Five.
Okay. So, you were a late starter. But no. Uh sometimes, you know, um Kensho who was in here, what did he say?
He was three when he started with the violin. Had you started with the violin, do you think you would have absolute pitch? You know, definitely I think I would have. I I I do play violin.
I play in the YSO and I started Wait a minute. You play violin also? Really? Yeah, you play in the YSO.
Uh, you know, that's really hard to get in the YSO, folks. That's very competitive. Oh, okay. So, when how old were you when you took up violin?
I started violin when I was 10 and I my sense of pitch didn't develop for the violin. Okay. So, what did you learn from that? What do we what do we conclude from that experience?
If you wanted to develop absolute pitch, what would have been the sequence in which you would have been exposed to these instruments? Violin. Violin first. because it forces you to think about pitch constantly like the um uh eastern languages or so many of them are tonal languages. You have to think about this issue of pitch early on.
And statistically you somebody did a study of of uh of violinists of Asian uh nationality or descent at the Eastman School of Music and something like 64% of them had absolute pitch. Uh and it's a combination I think of working with a stringed instrument and working with a tonal language in in many cases. So, it's a very interesting interesting phenomenon and and it sure it sure is very helpful when you go to play these instruments because you don't have you know if you can stream the music you're not going to have memory lapses and and things like that. So, now we have we have a piece and we're going to have you you play uh this piece on for beginning to end.
It's based on another poem. We've given you the poem for today but it's not really relevant uh or that relevant. What's this poem about Naomi? Have you ever looked at the poem?
Yes, I have. So, what's what's it what's it do for us? The poem's about a water and she's trying to seduce this mortal man and um she sings and she asks him to sort of come in the lake with her and be the king of the the the lake with her. Um and he in the end he says, "No, I can't.
I love a mortal woman." And she pretends to cry a little bit and then she just laughs and swims off and basically says, "Well, I didn't want you anyway." But that's sort of the story that's going on. And it's like very well reflected reflected reflected in. Uhuh. Um so so when you play this do you think of partic because we do have the text there.
Do you think of particular moments in the poem? Oh really? Um most of you want to play one and Yeah. Yeah.
Well well the water is is happens throughout the whole piece. There's constant running notes in the whole piece. Okay. Interestingly enough that chord is an augmented triad.
I had I cheated. Uh, are you supposed to know recognize an augmented triad? No, I did go get the score on this because I don't I didn't know this piece particularly well. Um, uh, so no, you're not supposed to recognize a whole tone scale from a pentatonic scale.
Maybe recognize it's something different, but it is interesting to note. It starts right off the bat with an augmented triad. So that's the that's the water. That's the water.
Um, and then near the end, well, and then it sort of gets really tumultuous when she's getting really passionate about it. Okay. Do you want me to play a little? Yeah, play a little of that.
That'd be great. So, that's sort of when she's getting really passionate and really pleading with him to come. Yeah. Um, does that sound easy or hard to play?
There's a reason she's playing this and I am not. Um, yeah, because that's I took the easy stuff, big chords, you know, not no uh you should look at the score. Uh, and the other interesting thing is that the hand pos the chord positionings change each time they go up an octave. And that's really hard.
Uh, rather than repetition of an arpeggio up an octave, repeat it. Same hand position up an octave. The particular hand positions are changing as you go up octave, octave to octave. Um, anything else?
At the very beginning of this, I did notice if you could play the left hand part just so we can hear this melody at the [Music] beginning. Okay. So that we have the outlines of of a pentatonic scale at work here and you're going to hear that at the beginning and then you'll hear at at the end. So the general form here as is often true with these impressionist composers is just turnary form.
A B A with the the second and final A slightly modified. So we're going to hear this now from beginning to end. Naomi Woo playing on by [Music] Rall. Heat.
Heat. [Music] [Music] [Music] Heat. Heat. [Music] [Music] [Music] [Music] [Music] [Applause] Thank you so much. That was wonderful. So, as as Onine flies off, uh you will fly off now to your uh next class.
Thanks very much.