Barenboim's Images are very individual, pliant and imaginatively drawn. The opening of ''Gigues'' is probably slower than the modere that Debussy had in mind, but the added poignancy of the oboe d'amore's beautiful intoning of the folk-song is justification enough. Here, too, the DG recording immediately establishes its credentials: transparent textures, details (particularly percussion) tell in a more assertive way than on the recent Rattle (EMI). That has a richer, warmer sound with slightly veiled woodwind and percussion, but the effect on the DG is rarely clinical.
The first movement of ''Iberia'' is again slow, as if the afternoon sun rules out any overtly energetic activity, but lassitude threatens where Debussy's librement expressif (after fig. 14) here results in an ebbing away of the underlying pulse. The nocturnal mood of ''Les parfums de la nuit'', though, is magically evoked, the strings of the Paris Orchestra a degree less velvety and sensuous than their CBSO counterparts, but caressing their long melodies most beguilingly. I loved, also, Barenboim's vivid pointing of the folk elements in the holiday celebrations in the last movement of ''Iberia'' (the quasi-guitara strings and stamping dance rhythms) more than usually highlighting the music's kinship with Stravinsky's Shrovetide Fair from Petrushka.
It is instructive to compare the Orchestre de Paris with the French Radio National Orchestra under Martinon. The latter has much reedier woodwinds (an unpleasantly whining oboe d'amore in ''Gigues'') and far less accomplished ensemble. Indeed, next to Barenboim, Martinon sounds brusque and workmanlike and the 1974 EMI recording suffers from glare in tuttis and a restricted dynamic range.
Both Martinon and Rattle have Debussy's Jeux as couplings. Barenboim's Ravel items hold their own in much more competitive territory. In his review of the LP version of Daphnis and La valse, MEO spoke of a ''sumptuously rich, Bakst-like palette, generously used'', and ''outstandingly clear and wide-ranging recording''. I heartily concur. This Daphnis is a thing of great delicacy as well: the birdsong bedecked textures of the opening seem airborne, and if Barenboim accelerates for the lovers' reunion, he is not alone. Some may find the almost swooning strings in the ''Pantomime'' a bit hard to take, but the flute solo has a wonderfully lithe, animal quality and the accompaniment is exquisite with generous rubato and attention to detail (like the spread pizzicato chords on first violins) constantly engaging the ear.
On CD there is less of the richness and warmth than before, but a greater impression of depth (lack of depth was one of EG's original criticisms of the Debussy). Given its mid-price tag and generous duration, this disc is a fine bargain.'