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For nearly 20 years Debussy had struggled to come to grips with his own revolutionary musical viewpoint, and throughout the Images (six pieces in all) we find, in equal parts, an intense glorification of sensation and a new harmonic richness. "Reflets dans l'eau" (Reflections on the Water), which opens Set I of Images, is frequently cited as one of Debussy's finest works, despite the composer's own dislike of the piece. Brief melodic fragments are set against an undulating background that covers the entire range of the instrument -- the bass register employed with great stillness, the upper register shimmering and subtly distorted. The motion subsides towards the end, and the music disappears into a final, spacious D flat major sonority. "Hommage α Rameau" (marked dans le style d'une Sarabande) probably owes its existence to Debussy's participation in the editing of Rameau's opera-ballets. While some have found the "Hommage" to be less successful than its companion pieces, others hear this affectionate tribute as a work of great power (it has been likened by one writer to the late piano sonatas of Beethoven). The last piece in Set I of Images has no specific extra-musical connection and is titled, simply, "Mouvement." Fleet of foot (or hand) and rather enigmatic in expression, the piece opens with a rhythmically active but harmonically static passage. A few passionate outbursts precede the more thematically substantial (and much, much louder) middle section. Following a literal reprise of the opening material, "Mouvement" dissolves into a long diminuendo employing the absolute extremes of the instrument's range, with only a single, fragmentary melodic line filling the gap. Set II of Images is one of the most striking things Debussy ever composed; he found it necessary to notate the entirety of the work on three staves to ensure clear articulation of his very complex pianistic textures. "Cloches α travers les feuilles" (Bells through the Leaves), which opens the set, simultaneously presents several layers of musical detail: a series of sustained chords supports a more rapid pentatonic figuration in the right hand, while the bell tones are themselves represented by a series of accented dyads (two notes, in this case usually major seconds) in the left. Traditionally "oriental" sonorities take center stage for "Et la lune descend sur le temple qui fut" (literally, the Moon Descends on the Temple Which Was). Often these sonorities are intervals of fourths and fifths, set in a gamelan-like texture; Debussy had been enthralled with the gamelan ensemble ever since hearing it at the 1889 Paris Exposition. The result is a series of melodic fragments thrown together what seems to be an entirely free manner. "Poissons d'or" (Goldfish) is perhaps the most famous piece in all of Images. The choreography of the hands at the keyboard is gracefulness itself, following the music as it shifts directions in the quick, almost random manner of fish. The line between theme and accompaniment is blurred in "Poissons," with the two frequently exchanging roles. The gradual accretion of musical material builds to a radiant climax, after which follows the famous black key against white key cadenza. A graceful coda brings the piece to a quiet close. _______________________________________________________________________ 01-Images I - 1. Reflets Dans L'eau [04:55] 02-Images I - 2. Hommage a Rameau [06:35] 03-Images I - 3. Mouvement [03:43] 04-Images II - 1. Cloches α Travers Les Feuilles [04:23] 05-Images II - 2. Et La Lune Descend Sur Le Temple Qui [05:15] Fut 06-Images II - 3. Poissons D'or [04:09] 07-Children's Corner - 1. Doctor Gradus Ad Parnassum [02:15] 08-Children's Corner - 2. Jimbo's Lullaby [03:29] 09-Children's Corner - 3. Serenade For The Doll [02:16] 10-Children's Corner - 4. The Snow Is Dancing [02:38] 11-Children's Corner - 5. The Little Shepherd [02:29] 12-Children's Corner - 6. Golliwogg's Cake-Walk [02:57] ------- 45:04 min