Principally surveying the Préludes and Images, the first two volumes of Alessandra Ammara’s Debussy survey have attracted praise for their affinity with the composer’s elusive but painterly idiom. According to Fanfare, ‘Ammara reveals her sensitivity to the Debussy (1862-1918) sound world, rife with blurred outlines of objects and infiltrated with variegated light, in the manner of the painter J.M.W. Turner.’