themes. It opens with dark sounds in the English horn, bassoons and low strings. As those sounds stop, a bass clarinet plays the "fate motive", consisting of a big leap followed by some descending notes. Melisande, lost in the forest, is depicted by a delicate theme, first played by the oboe. Soon we hear the themes of the half-brothers: Goloaud's theme, introduced by the strings, is broad and lyrical, while young Pelleas’ theme, first introduced by the horn, is much more energetic. About ten minutes into the piece, we hear a scherzo-like episode, depicting Pelleas and Melisande's first scene by the well. At that point in the story, their love is still in its beginning, so the music is relatively light. At the climatic point of the scene, the orchestra plays fortissimo: Melisande drops her wedding ring into the well, and then, as in a cinematic cut, trombones and tuba play the beginning of Goloaud's motive. This time, the motive does not fold elegantly as in its original appearance, but rather falls down, depicting Golaud's falling from his horse at the exact moment when Melisande's ring falls. In a Rapunzel-inspired scene, flutes and clarinets play a new version of Melisande's motive, imitating her hair swinging from to tower. Then, from the brightest scene in the play we move to the darkest one. Golaud leads Pelleas to the palace's dark, rotting vaults. Schoenberg uses low instruments, flutter-tonguing flutes (a unique technique which creates a kind of Frrrrrr sound) and trombones' glissandi to create the exact atmosphere for this horrific scene. The next scene brings Pel leas and Melisande's love to its climax. They are in the well once again, but this time they are aware of their love and its dangers. The broad, romantic "love theme" is played for the first time. Golaud’s theme is heard in the low instruments, almost unnoticeable. He eavesdrops the lovers, who kiss right before he stabs Pelleas to death. The last part of the work is mainly based on the themes played so far. Melisande is dying in her room while Golaud and the servants sit beside her bed. Golaud's theme, which originally was very glamorous, fades, and the very few notes that are left from it end the piece gloomily. Oded Shnei-Dor
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