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Gamelan influences in this work’s “De l’aube à midi” section may include a pentatonic flute theme starting with descending sixteenth-note B-flat, A-flat, F, E-flat chords. For 10 points each:
[10m] Name this orchestral work. Its composer’s fascination with Japanese prints, which title his Estampes, led him to print The Great Wave off Kanagawa on this piece’s score.
ANSWER: La Mer [or La mer, trois esquisses symphoniques pour orchestre; or The sea, Three Symphonic Sketches for Orchestra] (by Claude Debussy. See Echoes from the East by Kiyoshi Tamagawa; see Debussy: La Mer by Simon Trezise.)
[10h] Roy Howat argues that Debussy’s use of pentatonic scales in works like La mer and Pagodes does not sufficiently evoke this gamelan scale. Pieces like Puspawarna use this pentatonic scale’s pathet manyura.
ANSWER: sléndro (See “Debussy and the Orient” by Roy Howat in Recovering the Orient.)
[10e] In contrast, Howat argues that Francis Poulenc’s concerto for two of these instruments accurately evokes the heptatonic pélog scale. Debussy’s pieces for this instrument include “Clair de lune.”
ANSWER: pianos [accept Concerto pour deux pianos or Concerto for Two Pianos and Orchestra] (In particular, Howat claims the piano is best suited to portray the shimmering layering of texture of gamelan music, also done successfully in Debussy’s Images.)
<AS, Auditory Arts>

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