Claude Debussy instead "an exquisite, pellucid style" capable of conveying "not only gaiety and whimsicality but emotion of a deeper sort". In a 2004 study, Mark DeVoto comments that Debussy's early works are harmonically no more adventurous than existing music by Fauré; in a 2007 book about the piano works, Margery Halford observes that "Deux arabesques" (1888–1891) and "Rêverie" (1890) have "the fluidity and warmth of Debussy's later style" but are not harmonically innovative. Halford cites the popular "Clair de Lune" (1890) from the "Suite Bergamasque" as a transitional work pointing towards the composer's mature style. Musicians from Debussy's time onwards have
Orchestral Suite No. 3 (Tchaikovsky) the two he had previously written. The problem lay with the opening movement. Titled "Contrastes", it was to be a fantasia of contrasting musical sounds and patterns, not unlike the "Jeu de sons" movement that opened the Second Orchestral Suite. The more he worked with the music, the more recalcitrant the music became and the more he hated it. "Contrastes" finally found its way into the Concert Fantasia. Tchaikovsky's original layout for the Third Suite was similar to that of his Second—a fairly large opening movement as in his first two orchestral suites, then three smaller ones and a theme–and–variations