found in the violin concertos of Vivaldi and the clavier fantasias

and fugues of J. S.Bach, whilst its use as a vague

tonality in the introduction to a more diatonic theme by
Mozart in his well-known C major Quartet, finds its echo in
the recent Kammer-Sinfonie of Schonberg (see Chapter XV.).
All music is impressionistic in aim, but amongst the first pieces
of Impressionist technique are surely