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
Clair de lune (Fauré) 1888, at the instigation of the Princesse de Polignac, he made a version for voice and orchestra, first performed at the Société Nationale de Musique in April of that year, with the tenor Maurice Bàges as soloist. In its orchestral form the song was included in Fauré's incidental music "Masques et bergamasques" in 1919. The original published version (Hamelle, Paris, 1888) is in B-flat minor. The song is dedicated to Fauré's friend the painter Emmanuel Jadin, who was a talented amateur pianist. Clair de lune (Fauré) "Clair de lune", ("Moonlight") Op. 46 No 2, is a song by Gabriel Fauré,