Debussy is a master in expressing a great deal in just a few notes. This six-piece suite breathes the mysteriousness which is so in character with Debussy. The tone is mostly muffled, the tempo moderate to slow except for the last piece. Each part bears its own inscription (epigraph) which inspired Debussy to subtle colouring in the music. Sound colour, musical storytelling and a longing for times past and distant lands characterize the delicate atmosphere expressed by these compositions.

In Bizet’s Jeux d’énfants a child’s innocence prevails. The musical storyline suggests which game is intended. In ‘L’escarpolette’ (The swing) the music flies up and down. The spinning movement in ‘La toupie’ (The top) speaks for itself, just like the light-footed, almost weightless flights in ‘Le Volant’(The shuttle) and ‘Les bulles de savon’ (Blowing bubbles). In the middle of all this fun and games Bizet introduces two moments of relaxation, first with ‘Colin-Maillard’ (Blindman’s buff) where a blindfolded child gropes around trying to touch another player, followed by ‘Petit mari, petite femme!’ where two children are playing mothers and fathers. The composition as a whole calls forth associations with Bizet’s predecessors.

The five parts of Ma Mère l’Oye all refer to fairytales. Obviously, Laideronnette (part 3) and Beauty and the Beast (part 4) could not be left out. The Sleeping Beauty (part 1), Tom Thumb (part 2) and the Enchanted Garden (part 5) are also included. Ravel keeps a close track of the stories. High chirping notes for instance indicate that birds are pecking at the crumbs left behind by Tom Thumb. And a long glissando is a sure sign that the Beast is turning into a handsome prince. Although Ravel – in his own words – keeps his music as simple as possible, he has succeeded in creating an enchanted world.