The name is absent

Debussy: The Preludes 173
Especially remarkable is the manner in which the theme
gradually emerges from the misty harmony of the opening
measure. Note, too, the specifically impressionistic tech-
nique by virtue of which the “primary colors” of successive
chords are fused by the pedal into a single mass of hazy,
shimmering sonority.

XI. “Puck’s Dance” (La Dance de Puck}

The flashing lightness and grace of swift, ethereal move-
ment and the mischievous caprice and irony which we asso-
ciate with the fantastic character of Shakespeare’s play.
The composer has used extensively the horn-like sonorities
which we have already remarked were one of the charac-
teristic features of his piano style.

XII. “Minstrels” (Minstrels}

The boisterous humour and facile charm of the music-
hall; a mood typical of Chabrier in his “hail-fellow-well-
met” vein. What subtlety of observation lurks beneath
the apparent facility of so banale a theme and what judg-
ment in the selection of the details to be retained! A few
decisive lines, sketched in under the guidance of an eye
whose ironic glance seems to be wandering absently over
the scene which, in reality, it is observing with pitiless scru-
tiny, suffice to suggest an entire picture and to establish
completely the atmosphere which it evokes.

Only a genius could handle so vulgar a theme success-
fully. But, after all, in the presence of such a masterpiece,
one realizes that, as far as art is concerned, there are no
vulgar subjects, but only certain problems which are raised
and solved, or not. Here the solution has obviously been
found—and with bewildering ease and mastery.

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