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So it is in Fauré’s ‘translation’ of the dance to late-nineteenth-century Paris. The flute, modern cousin to the recorder, sings the doleful main theme; you can even hear the archaic lute in the gentle, plucked bass of the accompaniment. After the theme has passed from the winds to the strings, there is a short middle section, more impassioned but still in the modal, detached style of the whole, before the theme returns.
from notes by Peter Quantrill © 2011