Camille Saint-Saëns described this piece as "no more a piece of music than the palette on which a painter has been working is a picture." This piece's only percussion instruments are two crotales, which do not play until the first theme returns in its original rhythm and original key of E major. This piece's first chord is played in measure 4 after the opening solo and is accompanied by a glissando in the first harp. Its 
Camille Saint-Saëns described this piece as "no more a piece of music than the palette on which a painter has been working is a picture." This piece's only percussion instruments are two crotales, which do not play until the first theme returns in its original rhythm and original key of E major. This piece's first chord is played in measure 4 after the opening solo and is accompanied by a glissando in the first harp. Its composer intended it as part of a three-part composition with a Final Paraphrase and (*) Interlude, but never finished the other two parts. This piece opens with a chromatic descent by a flute soloist that spans a tritone. This piece was the basis for a ballet by Vaslav Nijinsky and was inspired by a poem by Stéphane Mallarmé. For 10 points, name this symphonic poem by Debussy which depicts a satyr playing the pan-pipes.
Camille Saint-Saëns described this piece as "no more a piece of music than the palette on which a painter has been working is a picture.