“It is hard to imagine a better guide than Walsh to the delights of Debussy’s sound world. Clearly he loves it, yet he’s refreshingly unsentimental about it. Many of Walsh’s main ideas have been expressed before, but rarely with such clarity: the harmony of Debussy’s early music ‘feels as if filtered through parts of Tristan und Isolde, absorbing its colours but not its processes’; one of the risqué, indulgent Trois Chansons de Bilitis has ‘a quiet intensity that verges on the private’; another has ‘the curious mixture of intensity and inconsequentiality we associate with dreams.'”
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