"The unintelligibility of any interpretation always derives from being played "with the same colour." It is shading that gives variety. There is a great deal to be said on this subject, one of the most delicate questions posed by playing. Of course, one must respect the requirements indicated by the composer. Nevertheless, it often happened, with Fauré beside me, that I had to differ from what was written. This would be quite impossible with Claude Debussy or Maurice Ravel, who were orchestrators, a thing Gabriel Fauré was not. We knew that he was always assisted by his pupils for his orchestration of Pénélope. Fauré's phrasing was very long, his perorations endless (Debussy said: "He doesn't know how to finish"), and these required support from variety in shading. I tried to make his phrasing more striking, to enhance the value of a dynamic, to find inflections which were not accentuated, but which gave the right kind of sound to a modulation. After I had considered the effect for a long time beforehand, I would submit my proposals to the master for his approval."