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She found her way to the office and explained what she wanted to a suave, but rather anæmic young gentleman who talked about quarterings. Miss Daisy was not to be cowed by jargon. "Put in any quarterings you fancy," she said. "I'm not particular. If ghules, argents and ramparts are extra, I am prepared to pay. But don't you meditate too much on the unforgotten glories of the past. Get a move on."
He has permeated music completely with his impressionistic sensibility. His style is an image of this our pointillistically feeling era. With him impressionism achieves a perfect musical form. Structurally, the music of Debussy is a fabric of exquisite and poignant moments, each full and complete in itself. His wholes exist entirely in their parts, in their atoms. If his phrases, rhythms, lyric impulses, do contribute to the formation of a single thing, they yet are extraordinarily independent and significant in themselves. No chord, no theme, is subordinate. Each one exists for the sake of its own beauty, occupies the universe for an instant, then merges and disappears. The harmonies are not, as in other compositions, preparations. They are apparently an end in themselves, flow in space, and then change hue, as a shimmering stuff changes. For all its golden earthiness, the style of Debussy is the most liquid and impalpable of musical styles. It is forever gliding, gleaming, melting; crystallizing for an instant in some savory phrase, then moving quiveringly onward. It is well-nigh edgeless. It seems to flow through our perceptions as water flows through fingers. The iridescent bubbles that float upon it burst if we but touch them. It is forever suggesting water fountains and pools, the glistening spray and heaving bosom of the sea. Or, it shadows forth the formless breath of the breeze, of the storm, of perfumes, or the play of sun and moon. His orchestration invariably produces all that is cloudy and diaphanous in each instrument. He makes music with flakes of light, with bright motes of pigment. His palette glows with the sweet, limpid tints of a Monet or a Pissaro or a Renoir. His orchestra sparkles with iridescent fires, with divided tones, with delicate violets and argents and shades of rose. The sound of the piano, usually but the ringing of flat colored stones, at his touch becomes fluid, velvety and dense, takes on the properties of satins and liqueurs. The pedal washes new tint after new tint over the keyboard. "Reflets dans l'eau" has the quality of sheeny blue satin, of cloud pictures tumbling in gliding water. Blue fades to green and fades back again to blue in the middle section of "Homage
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