White Book 3 was written for Paul Sánchez, and it’s unified by the work of the artist Christopher le Brun, whose paintings and woodcuts have inspired these five pieces. The first three pieces of the set have surface qualities of colour and light, and move easily from one to the next. Seria Ludo has a playful, free-wheeling energy, spiced with syncopations and a devil-may-care attitude to every gesture that rushes past. The Hesperides tunes into the magical and enigmatic zone of imagery created by Le Brun’s painting of the same name, at times conjuring translucent harmonies from the piano that counterpoint the balanced tread of the opening and closing sections. And finally, Glow, where constantly shifting foreground rhythms are framed within a more regular, formal architectural structure. These pieces reveal Lynch’s predilection for the qualities of French music, but with The Rhine a new world opens out, one of a Northern European sensibility. This work is by far the longest of the set and the individual ideas are subordinated within the textures, sometimes breaking the surface of the music before falling back again – the abundance of the notes threatening to blur the distinction between line and decoration, dragging the music into the world of the unconscious. This is music of a much darker nature, its primal energy gathering weight as it moves towards a climax, before concluding, with a nod to the Wagnerian Rhine, on a series of hushed E flat chords. Before the last sounds have died away, the lustrous opening of Landscapes with Angels begins – angels walk among men, and the world is momentarily transformed by a heavenly presence.