I’d been sitting in an airport for a extra day now, but when I started walking down the left aisle to my seat, scanning both letters and numbers for 30J—I heard it. I don’t think that it was possible that I could have been as happily distracted hearing or doing anything else.
Solfège (fixed do) automatically started in my head—several different voices at the same time during a gamelon-like-rhythmic section. The hanging or ghost tones in the melody (as it morphs through timbre) kept on being picked up by the strings’ harmonies as Phillip Lasser taught us. The cello and bass ‘do’ to ‘sol dieze‘ and back again automatically kept my conducting hand steady. I heard Bach and Brahms’s counterpoint without their progression. five-tuplets in the harp while feeling the triplets in my eyes. And then the recapitulation wasn’t a perfect repeat as it left out the diminished ninth. Cuing! to the horns, then the clarinet.
It is Debussy. Prélude à l’après-midi d’un faune.
what a beauty.
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