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Marius Constant, who had an intimate knowledge of Debussy͛s Pelléas et Mélisande, published Impressions de Pelléas, published in 1992 an abridged version (95 minutes insteadof 150) for six singers and two pianists. In an intense flow of music, he telescopes the five acts with great finesse, removing a few scenes and making a fair number of cuts and a few minimal adjustments to the musical material. For the scenography, he suggested, ͚We are in an ͞early twentieth-century͟ salon͛. This reflects the fact that during the genesis of Pelléas, Debussy regularly played fragments of it for his circle of friends. In this version, both listeners and performers are involuntarily swept towards the origin and essence of Debussy͛s masterpiece: a ͚music of the soul͛ in which we can all recognise our own Mélisande, Pelléas, Arkel, Geneviève, Yniold and Golaud. This chamber version of the opera is completed by the Prélude à l’après-midi d’un faune in Debussy͛s own transcription for two pianos and the suite En blanc et noir. The two pianos used are the new straight-strung instruments built in Belgium by Chris Maene at the request of Daniel Barenboim.