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
Caucasian Sketches, Suite No. 1 near the end, when after a second cadenza, slows its tempo down again. The title of a third, "In a Mosque", reflects the abundance of mosques in the once Turkish Caucausus and Circassia, and the listener can hear the Muezzin's call to prayer in the music. The most famous and admired portion is the final piece, "Procession of the Sardar", a Persian title for a military commander, leader or dignitary. Notable recordings of this suite include: Caucasian Sketches, Suite No. 1 "Caucasian Sketches, Suite No. 1", Op. 10 (Russian: "Кавказские эскизы, Сюита №1") is an orchestral suite composed in 1894