	      This prelude is a miniature tone poem with an exotic story.  Based on a poem by Mallarm, Debussy paints a picture of a dreamlike world where a faun (half man and half goat) plays a flute and dreams of carrying off two beautiful nymphs. The faun is confused whether he actually carried them off or merely dreamed about it.
	The structure of Debussy's tone poem falls loosely into three parts (A B A').  The middle section is more agitated, evoking an impression of confused dancing by the nymphs.  The  return (A') is a condensed version of the opening section with differences in orchestration.   The most striking element in this work is the freedom of rhythm and melody.  There is no strong pulse to suggest meter.  Phrases seem to float by, never to return.  The lonely flute solo which begins the work sets the mood for what follows.
	Notice how independent the instruments in the orchestra are.  There are many soloistic moments for the woodwinds, creating a very thin but delicate texture.  The expanded orchestra we saw in the late nineteenth century has been thinned considerably.  There are no trumpets, lower brass or percussion.  The orchestra is limited to woodwinds and strings.  The strings are muted most of the time adding a dark, mysterious quality.  The only percussive sounds come from the harp and antique cymbals.  His emphasis on solo instruments develops a sense of intimacy.  Pay particular attention to the floating sonorities and how one moves to the next.  Building delicate textures and sonorities took precedence over structuring a compelling, functional chord progression.