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“... The musicians​ of my generation, and I myself, owe the most to Debussy,’ Stravinsky said, but he would also say that, much as he admired Jeux, he found some of the music in it ‘trop Lalique’, a remark of a certain cattiness, calculated to put Debussy’s protean and elusive masterpiece back in its box, at a moment (it was 1959) when, perhaps not altogether desirably for the composer of Le Sacre du printemps, Jeux was belatedly becoming the poster piece of the avant-garde, the work everyone at Darmstadt would be talking about ...”

“... who knows – or at least knows about – everyone. For example (on page 118, to be precise), Marie-Laure (1), Maurice Bischoffsheim (2), the Comtesse de Chevigné (3), the Duchesse de Guermantes (4), the Marquis de Sade (5), Jean Cocteau (6), the Vicomte de Noailles (7), an anonymous gym instructor (8), Igor Markevitch (9), Diaghilev (10), Nijinsky ...”