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Home , Charles Koechlin, Claude Debussy, Fine Arts Quartet, Florent Schmitt, Gaby Casadesus, Geoffrey Simon

While writing this script, I realized with a shock that I was writing my own history. I was ten or eleven when I first really became aware of classical . Ravel had only been dead for two decades; Schoenberg but a few years; Bartók a dozen; I heard Stravinsky conduct several times — he died the day I bought an engagement ring for Connie. The music about which I am talking was new. To the listener today who is the age I was then, these have the same relation in time as I do to Schumann. This thought stopped me in my tracks. But the impressionist school has persevered; it has won the battle. I would have bet on twelve tone. I loved it then and I still do; but it has become assimilated into a ’s armamentarium, whereas ’s novel view of and its employment; Ravel’s focus on having the form of a piece drive its development from within — these changes form contemporary today.

Classical music is easier when it’s understood. A good place to begin that understanding is with a knowledge of style. When we open Jack Kerouac:

Once I was young and had so much more orientation and could talk with nervous intelligence about everything and with clarity and without so much literary preambling as this;…

We recognize immediately where we are and expect different things than when we open Jane Austen:

About thirty years ago, Miss Maria Ward of Huntingdon, with only seven thousand pounds, had the good luck to captivate Sir Thomas Bertram, of Mansfield Park in the county of Northampton, and to be thereby raised to the rank of a baronet’s lady,…

We don’t compare the two, at least not in terms of style, we focus on the enjoyment of what is there. We can do that because we understand the language, we know the grammar and we recognize the differences. We need to have the same comprehension of classical music to take what it offers as easily as we assimilate those two quite different novels. With , having this comprehension will bring us the additional benefit of making the music that is most alive, that being written today, fall into place better. I hope that by listening to this presentation that attempts to define the style you will gain at least some of that background. Enjoy it as it goes by. It’s great music!

The literature in this area is vast and, I think, too often off focus. The point is whence does the style originate? How did it develop? In what ways were its adherents related through ties of friendship, rivalry, or education? How far did it spread? What does it do? I could not find a pat answer that I found satisfying. What were helpful were ’ biographies: Edmund Lockspeiser’s two volume Debussy, his Life and Mind, MacMillan and Cambridge University Press; , Debussy, a Painter in Sound, Faber and Faber; Roger Nichols, Ravel, Press; Roland-Manuel, , Dover; and Catherine Lorent, , bleu nuit. Beyond that The New Grove Dictionary of Music and Musicians, , ed., MacMillan, is always invaluable. There’s a lot more…

I was struggling with how to explain why on the one hand most of the impressionist composers preferred to be called symbolists, while having on the other the fact that at this distance there is perhaps little difference, when I realized that I had interview clips from Gerald Prince, professor of french literature, and from Stéphane Denève, conductor, that precisely illustrated the dichotomy. I am grateful to them both for solving my conundrum and for being of such natures that I feel that I may call them my friends.

Learning how to identify a style from examples gives a more vivid comprehension than a recitation of what was and was not done in technical terms. To explain what impressionism is and what it is not I needed to show examples from a long list of composers. The interrelations between those composers are important to understanding the style, but the explanation of those interrelations presented bumps in the road which threatened to rattle the narrative. My review board, Al, Neal, and Stan helped. Stan by provoking me into including detail that I had determined to leave out. Al by helping with fine points of wording and musical examples. Neal by encouraging me in the belief that the exposition was of interest. Thank you, gentlemen.

Connie often has to listen to drafts that are so rough as to be almost intolerable, but this was much worse than normal. I must have interrupted her in the middle of something else at least an hundred times with: “Does this do the trick? Can you follow it?” Fortunately, she’s not left me.

Mike Cone

Tracks and clips 1. The Background 8:07 a. Johannes Ockeghem, Aultre Venus estes sans faille, Blue Heron, Scott Metcalfe, Blue Heron BHCD 1010 recorded 9/29/2018.* b. , Frühlingslied, D. 914, Die Singphoniker, CPO 999 399-2 released 1997.* c. , Three Cultivated Choruses, 1. Amarili, New World Records NWCR638 released 1991.*

2. The Origins of Impressionism 12:01 a. , , Act III Prelude, Philharmonic, , Decca 470 8142 recorded 9/2/1960. b. , Zehn Gesänge für Männerchor, Op. 83, 1. An Meer, Ensemble Vocapella Limburg, Tristan Meister, Rondeau ROP6127 recorded 8/11/2016.* c. , Sechs Stücke, Op. 35, 4. Gluck, Simon Joly , Robert Craft, Naxos 8.577525 recorded 9/20/2005.* d. , Prélude à l’après-midi d’un faune, L. 83, Philadelphia , , Private Label, Philadelphia Centennial Collection recorded 3/1/1947. e. Ernest Fanelli, Tableaux symphoniques d’après Le romain de la momie, 1. Thèbes: Rentrée triomphale du Pharaon, Slovak Radio Orchestra, Adriano, Marco Polo 8.225234 recorded 5/2000.*

3. French Composers in 19:49 a. Claude Debussy, de Charles d’Orléans, L. 92, 3. Yver, vous n’estes qu’un villain, New York Singers (?), Mark-L Enterprises Private Label, unknown recording date. b. Claude Debussy, , Série I, L. 110, 1. Reflets dans l’eau, Pascal Rogé, Onyx 4028 recorded 11/16/2007.* c. Maurice Ravel, , Mar. 69, 2. Trois beaux oiseaux du Paradis, Cambridge Singers, John Rutter, Collegium Records CSCD 509 recorded 5/1992. d. Maurice Ravel, Frontispice, Mar. 70, Ingryd Thorson, Julian Thurber, David Gardiner, 94176 recorded 6/1987. e. Maurice Ravel, Daphnis et Chloé Suite No. 2, Mar. 57b, Philadelphia Orchestra, , EMI 1C 067-43 268 T recorded 2/13/1982. f. , Ariane et Barbe-bleue, Act I, Patricia Bardon, Chorus & Orchestra of the Gran Teatre del , Stéphane Denève, Opus Arte OA 1098 D recorded 6/2011. g. Florent Schmitt, Kermesse-valse pour L’Éventail de Jeanne, , , Chandos CHAN 10290 X recorded 8/1/1984.† h. Florent Schmitt, Sonate libre en deux parties enchaînées (ad modum clementis aquae), Op. 68, II. Animé — Lent — Animé, Beata Halska, Claudio Chaiquin, Naxos 8.573169 recorded 2/18/2014.§ i. Gabriel Pierné, Concertstück, Xavier de Maistre, Staatsorchester Rheinische Philharmonie, Shao-Chia Lü, Claves 502206 released 2002.‡ j. , Les Bandar-log, Op. 176, Radio-Symphonie-Orchester Berlin, David Zinman, RCA Victor 09026-61955-2 recorded 6/20/1993. k. Charles Koechlin, Danses pour Ginger, Op. 163, 2. Danse lente, Yaara Tal, Andreas Groethuysen, Sony 0896182000 recorded 8/9/2000. l. , Trois gymnopédies, No. 2, Jean-Yves Thibaudet, Decca 470 290-2 recorded 12/19/2001.

4. Expatriate Composers in Paris 9:08 a. , Fantasia bética, , Hyperion CDA68177 recorded 11/23/2016.◇ b. Manuel de Falla, Canto de los romeros del Volga, Garrick Ohlsson, Hyperion CDA68177 recorded 11/23/2016.◇ c. , Song of the Volga Boatmen, Moscow State Philharmonic Symphony Orchestra, Igor Stravinsky, Melodiya 33CM 02467 recorded 10/1/1962. d. , Seven Danish Songs, RT III/4, 4. Let Springtime Come, Henriette Bonde-Hansen, Aarhus Symphony Orchestra, Bo Holten, Danacord DACOCD 536 recorded 3/27/2000.* e. Frederick Delius, The Song of the High Hills, RT II/6, 1. In ruhigen fließendem , BBC Symphony Orchestra, Andrew Davis, Chandos CHSA 5088 recorded 10/15/2010.†

5. Impressionism Outside of 10:07 a. , Symphony No. 4 (Symphonie concertante), III. , , Victor Symphony Orchestra, Alfred Wallenstein, RCA G0000344856Q recorded 12/19/1952.* b. Maurice Ravel, d’eau, Mar. 30, , Columbia ML-4519 recorded 12/5/1951. c. Charles Tomlinson Griffes, , I. Feroce; Allegretto con moto, Michael Lewin, Naxos 8.559023 recorded 6/7/1995.‡ d. John Alden Carpenter, , I. Allegro, Mira Wang, American Symphony Orchestra, Leon Botstein, American Symphony Orchestra ASO161 recorded 12/1/2010.* e. , Fontane di Roma, Philadelphia Orchestra, , Columbia MS-6001 recorded 4/14/1957. Total Time 59:12

Available as a paid download from *Prestoclassical.com, †Chandos.net, ‡Qobuz.com, ◇Hyperion.co.uk, §eClassical.com.

Seat K101 Productions 018 An historical overview made for educational purposes by Michael M. Cone.

Images: Copyright © 2020 Constance Cone. All rights reserved.

My original idea was simply to discuss the differences between Debussy’s and Ravel’s responses to Jules Écorcheville’s request for a piece on the name of Haydn and have that serve as the sole explanation of the difference between the two composers. I thought that while one could hear the distinctions, the listeners would be helped if I did some analysis. That was made easier when I found Peter Kaminsky’s chapter ‘Ravel’s Approach to Formal Process’ in the book he edited, Unmasking Ravel, New Perspectives on the Music, University of Rochester Press. I then realized that my extension of Kaminsky’s analysis would serve better as a closing, because while it would show very acutely the divergent approaches of the two men, it would not inform at all as to how they influenced one another. I needed more.

My next thought was . There is a clear connection to Debussy’s Pelléas et Mélisande in the vocal writing of Ravel’s L’heure espagnole. That it’s no accident is shown by Ravel having heard at least one of Debussy’s private piano performances of Pelléas as is discussed by Roger Nichols in his Ravel, Yale University Press. On top of that, Ravel said that he had been to every performance of Pelléas, — impossible as on at least one night he is known to have been elsewhere, but he obviously admired the work. Pelléas shocked Parisian audiences with its vocal style based on Mussorgsky’s . Stephen Walsh, Debussy, A Painter in Sound, Faber and Faber, points out when Debussy most likely saw the score of that piece, which had not yet premiered in Paris. In fact, its first premiere outside of was to be in Paris, but six years after Pelléas. I believe this to be an important point in understanding Debussy’s approach to music so I had to include it, but it wouldn’t really work unless I could trace the parlando writing back to Dargomïzhsky, which M. D. Calvocoressi with Gerald Abraham, Mussorgsky, Collier Books, enabled me to do.

Of course, it went both ways. Debussy was influenced by Ravel. That’s interesting all by itself when one considers that he was thirteen years older than Ravel and already well- established as the wild man of contemporary French music when Ravel was still a student. I had settled on an opening that played and Ibéria. It was logical to leap to Ravel’s Habañera. Edmund Lockspeiser’s two volume Debussy, his Life and Mind, MacMillan and Cambridge University Press, gave me the information I needed to prove the connection with Debussy’s Lindaraja. One of the lasting testaments to Ravel’s standing as a composer is that he wrote the Habañera when he was twenty. Ravel liked it, too: thirteen years later he orchestrated it as one of the parts of the Rapsodie. Of course, the trajectory would be made clearer by showing the way he absorbed influences, just as I had for Debussy in the section on opera, so I added the Chabrier Habañera.

As I thought about what I now regarded as a complete outline, I became more and more dissatisfied. Finally, I concluded that the only way to remedy the gaps was to discuss their string and compare them to César Franck’s. But the critical thing there was the way each composer reacted to the string as a genre. I felt that I had no choice but to tackle that and the historical background of the form.

I once heard the American Nicolas Phan say that he had not recorded any Schubert lieder because he did not wish to engage in a dialog with Dietrich Fischer-Dieskau. This crystallized my thoughts: to write a was to engage in a dialog with . Beethoven couldn’t be handled without explaining the form, so Haydn first, then Beethoven. But Franck does something different, the French tradition had to be discussed. With that decision I immediately realized that I had another problem in finding a way to characterize the French school of composition. I was struggling badly with expressing its differences in a few words and becoming fearful that I had opened yet another topic when Martin Cooper gave me the perfect précis in his marvelous survey of French Music from the Death of Berlioz to the Death of Fauré, .

The start of my path through a century of music would be François-Joseph Gossec, Joseph Boulogne Saint-Georges, Giuseppe Maria Cambini (handled well enough with The New Grove Dictionary of Music and Musicians, Stanley Sadie, ed., MacMillan), and then to , whom I had determined I needed to include. The only full study of Onslow is a doctoral dissertation that is not readily available. However, Raymond Silvertrust managed to get a copy of it and includes information that I found pertinent in The String Quartets of George Onslow, Edition Silvertrust. He also provides a carefully commented list of his quartets.

The political background is important when discussing French music and Félicien David and gave me the opportunity to briefly touch on two different aspects of it. They both wrote important string quartets, besides.

I was spared doing my own analysis of Debussy’s String Quartet by David J. Code’s article in 19th-Century Music, ‘Debussy’s String Quartet in the of “La Libre Esthétique”’. However, I didn’t think it was necessarily as open and shut as that article makes it. Debussy sought to blur form so another approach was possible. I was fortunate to find one, thus being saved doing the work myself, in Jane Ade Sutarjo’s thesis: Debussy and Ravel’s String Quartet: An Analysis; it’s on the web site of the Music Department of the Iceland Academy of the Arts.

The wonderful letter from Debussy to Ravel concerning his String Quartet in F, and a number of other letters and articles that I quote are to be found in Maurice Ravel, L’intégrale, Correspondance, écrits et entretiens, Manuel Cornejo, ed., Le Passeur. And, I was once more spared a ton of analysis by Sigrun B. Heinzelman, ‘Playing with Models, in Ravel’s String Quartet and ’ another chapter in the book edited by Peter Kaminsky that I mentioned above.

It has been quite a journey through the music of these two Parisians and their predecessors. I appreciate their work more thoroughly than before. Improving my ability to distinguish them has enriched my knowledge of music. I can only hope that I have managed to convey to you a little bit of what I learned along with at least some of the pleasure I had in gaining it.

Stéphane Denève always has exactly the right thing to say by way of introduction to a new topic and he didn’t fail me when I needed to lead into a discussion of the of Debussy and Ravel. I’m grateful. Reviewing this extended program, especially on top of parts I and II (for I wrote and finished all three sections together), must have been a grueling task for my review board, Al, Neal, and Stan; but they delivered, nevertheless. Their many suggestions improved things, as they always do. Interestingly, and unusually, there was one large item on which they did not agree; but I was able to use that disagreement to improve things as well. I am in their debt — no surprise. For reasons that you will understand if you read the preceding paragraphs, this presented some unusual difficulties for Connie. is not her strong suit, so she was questioned even more than normal. She tolerated it. I’m fortunate.

Mike Cone

Tracks and clips 1. Introduction 4:07 a. Maurice Ravel, Ma mère l’oye, Mar. 62, 4. Les entretiens de la belle et de la bête, Rotterdam Philharmonic, Yannick Nézet-Séguin, Warner 9 66342 2 recorded 6/13/2009. b. Maurice Ravel, Rapsodie espagnole, Mar. 54, 4. Feria, Symphony Orchestra, , Decca 425 956-2 recorded 12/11/1961. c. Claude Debussy, Images, L. 122, II.3 Le matin d’un jour de fête, London Symphony Orchestra, Pierre Monteux, Decca 4757798 recorded 5/21/1963.*

2. The Two-Piano Music 3:49 a. , Habañera, Georges Rabol, Naxos 8.533009 recorded 12/16/1993.† b. Maurice Ravel, Sites Auriculaires, Mar. 8, 1. Habañera, Robert & , Columbia ML-4519 recorded 12/4/1951. c. Claude Debussy, Lindaraja, L. 97, Aloys & Alfons Kontarsky, Deutsche Grammophon Gesellschaft 427 259 recorded 6/1973. d. Maurice Ravel, Sites Auriculaires, Mar. 8, 1. Habañera, Robert & Gaby Casadesus, Columbia ML-4519 recorded 12/4/1951.

3. Opera 14:44 a. Claude Debussy, Pelléas et Mélisande, L. 88, Act II, Elisabeth Söderström, George Shirley, Orchestra of House, Covent Garden, , Sony SM3K 47 265 recorded 12/1969. b. Alexander Dargomïzhsky, Rusalka, Act I, Marina Prudenskaya, Vsevolod Grivnov, Arutjun Kotchinian, WDR Rundfunkorchester Köln, Michail Jurowski, Profil Medien PHO9024 released 4/19/2010.‡ c. Alexander Dargomïzhsky, The Stone Guest, Act III, Marina Lapina, Nikolai Vassiliev, Bolshoi Theater Orchestra, Andrey Chistiakov, Brilliant Classics 94028 recorded 1995. d. Modest Musorgsky, Boris Godunov, Act II, Vladimir Vaneev, Mariinsky Theater Orchestra, Valery Gergiev, Decca 478 3447 recorded 11/1997. e. Claude Debussy, Pelléas et Mélisande, Act IV, L. 88, Irène Joachim, Paul Cabanel, Pathé Marconi Studio Orchestra, Roger Désormière, EMI CHS 7 61038 2 recorded 4/24/1941. f. Claude Debussy, Pelléas et Mélisande, L. 88, Act III ‘Mes longs cheveux descendent’ (arr. piano Debussy), Mary Garden, Claude Debussy, EMI CHS 7 61038 2 recorded 5/1904. g. Maurice Ravel, L’heure espagnole, Mar. 52, Jeanne Krieger, Louis Arnault, Orchestre de l’Opéra Paris, Georges Truc, Cantus Classics 5.00743 recorded 3/6/1929. h. Maurice Ravel, L’heure espagnole, Mar. 52, Stéphanie d'Oustrac, Alexandre Duhamel, Paul Gay, Radio-Sinfonieorchester Stuttgart des SWR, Stéphane Denève, SWR Music 19016CD recorded 12/12/2014.*

4. Introduction to the String Quartets 1:59 a. Claude Debussy, Quatuor in g, L. 85, I. Animé et très décidé, , Columbia M-30650 recorded 12/9/1970. b. Maurice Ravel, Quatuor in F, Mar. 35, I Allegro moderato, très doux, Juilliard String Quartet, Columbia M-30650 recorded 11/18/1970.

5. The Sonata-Allegro Form 10:12 a. , String Quartet No. 14 in B♭, Op. 9 No. 2, H. III:20, I. Moderato, Festetics Quartet, Hungaroton HCD12976-77 recorded 10/1987.‡ b, c. Joseph Haydn, String Quartet No. 63 in B♭, Op. 76 No. 4, H. III:78, I. Allegro con spirito, Wister Quartet, Direct-to-Tape, 1807 Live, Vol. 6 recorded 2007. d-i. Piano illustration. j-n. Joseph Haydn, String Quartet No. 63 in B♭, Op. 76 No. 4, H. III:78, I. Allegro con spirito, Wister Quartet, Direct-to-Tape, 1807 Live, Vol. 6 recorded 2007.

6. Beethoven’s String Quartets 7:13 a. , String Quartet No. 1 in F, Op. 18 No. 1, I. Allegro , , Everest SDBR 3255/9 recorded 1963. b, c. Ludwig van Beethoven, String Quartet No. 13 in B♭, Op. 130, I. Adagio, ma non troppo — Allegro, Fine Arts Quartet, Everest SDBR 3255/9 recorded 1963. d. Ludwig van Beethoven, String Quartet No. 13 in B♭, Op. 130, III. Andante con moto, ma non troppo, Fine Arts Quartet, Everest SDBR 3255/9 recorded 1963. e. Ludwig van Beethoven, String Quartet No. 13 in B♭, Op. 130, IV. Allegro assai: Alla danza tedesca, Fine Arts Quartet, Everest SDBR 3255/9 recorded 1963. f. Ludwig van Beethoven, , Op. 133, Fine Arts Quartet, Everest SDBR 3255/9 recorded 1963.

7. The String Quartet in France 16:21 a. François-Joseph Gossec, Quatuor in A, Op. 15 No. 6, I. Allegretto, Quatuor ad Fontes, Alpha 025 recorded 1/2002. b. Joseph Boulogne Saint-Georges, Quatuor No. 1 in C, Op. 1 No. 1, I. Allegro, Juilliard Quartet, Columbia M-32185 recorded 11/21/1973.* c. Giuseppe Maria Cambini, Quatuor concertant, Op. 21 No. 2, I. Allegro, Ensemble Alraune, Musica Novantiqua NA17 released 2017.‡ d, e. George Onslow, Quatuor No. 1 in B♭, Op. 4 No. 1, III. Menuetto — Trio, Mandelring Quartet CPO Recordings 999 329-2 recorded 12/10/1997.‡ f. George Onslow, Quatuor No. 28 in E♭, I. Introduzione. Adagio — Allegro moderato, Quatuor Diotima, Naïve V 5200 recorded 7/2009.‡ g. Alexis de Castillon, Quatuor No. 1 in a, Op. 4 No. 1, I. Allegro, Quatuor de Chartres, BNL 112965 recorded 4/2011. h. Félicien David, String Quartet No. 2 in A, III. Allegretto, Quatuor Cambini-Paris, Ambroisie Naïve AM 206 recorded 9/2010.*

8. César Franck 7:46 a. César Franck, Trois chorals, M. 38-40, 3. in a, Marcel Dupré, Mercury SR90168 recorded 10/14/1957.* b, c. César Franck, String Quartet in D, M. 9, I. Poco lento — Allegro, Fine Arts Quartet, Naxos 8.572009 recorded 3/19/2008.* d. César Franck, String Quartet in D, M. 9, III. Larghetto, Fine Arts Quartet, Naxos 8.572009 recorded 3/9/2008.* e. César Franck, String Quartet in D, M. 9, IV. Finale: Allegro molto, Fine Arts Quartet, Naxos 8.572009 recorded 3/19/2008.* f-h. César Franck, String Quartet in D, M. 9, I. Poco lento — Allegro, Fine Arts Quartet, Naxos 8.572009 recorded 3/19/2008.*

9. The String Quartets of Debussy & Ravel 14:01 a. César Franck, String Quartet in D, M. 9, I. Poco lento — Allegro, Fine Arts Quartet, Naxos 8.572009 recorded 3/19/2008.* b. Claude Debussy, Quatuor in g, L. 85, I. Animé et très décidé, Juilliard String Quartet, Columbia M-30650 recorded 12/9/1970. c-l. Piano illustration. m-p. Claude Debussy, Quatuor in g, L. 85, I. Animé et très décidé, Juilliard String Quartet, Columbia M-30650 recorded 12/9/1970. q-t. Maurice Ravel, Quatuor in F, Mar. 35, I Allegro moderato, très doux, Juilliard String Quartet, Columbia M-30650 recorded 11/18/1970. u, v. Piano illustration. w, x. Maurice Ravel, Quatuor in F, Mar. 35, I Allegro moderato, très doux, Juilliard String Quartet, Columbia M-30650 recorded 11/18/1970.

10. Honoring Haydn 15:44 a. Piano illustration. b. Charles-Marie Widor, Symphonie pour orgue No. 5 in f, Op. 42 No. 1, V. , Simon Preston, Deutsche Grammophon Gesellschaft 0289 413 4382 6 GH released 8/14/1984. c. Charles-Marie Widor, (Hommage à Joseph Haydn), , Chandos CHAN 8578 recorded 9/14/1987.* d. , Venezia, 2. La barchetta, Reynaldo Hahn, Pearl GEMM 0003 recorded 11/22/1909. e. Reynaldo Hahn, Thème varié sur le nom de Haydn, Margaret Fingerhut, Chandos CHAN 8578 recorded 9/14/1987.* f. Claude Debussy, Hommage à Haydn, L. 115, , Heritage HTGCDM057 recorded 8/1953.* g. Joseph Haydn, Sonata No. 47 in b, H. XVI:32, II. Menuet, Ruth Slenczynska, Ivory Classics 64405-70902 recorded 4/8/1984. h. Piano illustration. i. Maurice Ravel, Menuet sur le nom de Haydn, Mar. 85, , Vox CDX2 5507 recorded 1955.* j. Maurice Ravel, Fanfare pour L’éventail de Jeanne, Mar. 80, Philharmonia Orchestra, Geoffrey Simon, Chandos CHAN 10290 recorded 8/1/1984.◇ Total Time 1:35:36

Available as a paid download from *Prestoclassical.com, †eClassical.com, ‡Qobuz.com, ◇Chandos.net.

Seat K101 Productions 018 An historical overview made for educational purposes by Michael M. Cone.

Images: Debussy, date of photo not recorded. Ravel on the balcony of his house, Le Belvédère, in Montfort-l’Amaury, in the 1920’s. Photographs: Copyright © 2020 Constance Cone. All rights reserved. “The balcony at Le Belvédère” and “The gate to Le Belvédère.”