Question: Léon Roques was a renowned transcriber for works by Claude Debussy and which other Impressionist composer?

Context articles: Fantaisie for piano and orchestra (Debussy)
Claude Debussy
Afternoon of a Faun (Nijinsky)
Jeux
Ariettes oubliées
La cathédrale engloutie
In the Mists
Six épigraphes antiques
Léon Roques
The Seduction of Claude Debussy

"Fantaisie" for piano and orchestra, L. 73, is a composition for piano and orchestra by French composer Claude Debussy.
 It was composed between October 1889 and April 1890 but it received its first public performance only in 1919, a year after Debussy's death, in London by the Royal Philharmonic Orchestra with Alfred Cortot as soloist.
 It is Debussy's only composition for piano and orchestra and, even though it is written in a three movement form, it was not composed as a Piano Concerto.
 Today it is one of Debussy's least frequently performed works.
　This work is dedicated to the pianist René Chansarel, who had been scheduled to play the solo part for the cancelled premiere in 1890.
Achille-Claude Debussy (] , 22 August 1862 – 25 March 1918), known since the 1890s as Claude-Achille Debussy or Claude Debussy, was a French composer.
 He and Maurice Ravel were the most prominent figures associated with Impressionist music, though Debussy disliked the term when applied to his compositions.
 He was made Chevalier of the Legion of Honour in 1903.
 He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed.
The ballet The Afternoon of a Faun (French: "L'Après-midi d'un faune" ) was choreographed by Vaslav Nijinsky for the Ballets Russes and first performed in the Théâtre du Châtelet in Paris on 29 May 1912.
 Nijinsky danced the main part himself.
 As its score it used the "Prélude à l'après-midi d'un faune" by Claude Debussy.
 Both the music and the ballet were inspired by the poem "L'Après-midi d'un faune" by Stéphane Mallarmé.
 The costumes and sets were designed by the painter Léon Bakst.
Jeux ("Games") is the last work for orchestra written by Claude Debussy.
 Described as a "poème dansé" (literally a "danced poem"), it was originally intended to accompany a ballet and was written for the Ballets Russes of Sergei Diaghilev to choreography by Vaslav Nijinsky.
 Debussy initially objected to the scenario, but reconsidered the commission when Diaghilev doubled the fee.
 Debussy wrote the score quickly, from mid-August to mid-September 1912.
 Robert Orledge has analysed the chronology of Debussy's composition and preserved manuscripts of the score.
Ariettes oubliées ("Forgotten Songs") is a song cycle for voice and piano, L. 60 by Claude Debussy, based on poems by Paul Verlaine.
 The six "arriettes" were composed mostly in Rome in 1886.
 The first two were completed in Paris in March 1887.
 They are dedicated to the singer Mary Garden who also sang Mélisande.
 The poetry of Paul Verlaine had a more profound influence on Claude Debussy's music than did Debussy's closest literary or musical acquaintances.
La Cathédrale engloutie ("The Submerged Cathedral") is a prelude written by the French composer Claude Debussy for solo piano.
 It was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each.
 It is characteristic of Debussy in its form, harmony, and content.
In the Mists (Czech: "V mlhách" ) is a piano cycle by Czech composer Leoš Janáček, the last of his more substantial solo works for the instrument.
 It was composed in 1912, some years after Janáček had suffered the death of his daughter Olga and while his operas were still being rejected by the Prague opera houses.
 All four parts of the cycle are anchored in "misty" keys with five or six flats; characteristic of the cycle are the frequent changes of meter.
 Czech musicologist Jiří Zahrádka compared the atmosphere of the cycle to impressionist works, in particular those of Claude Debussy.
 The première took place on December 7, 1913, when Marie Dvořáková played it at a concert organized by the choral society "Moravan" in Kroměříž.
Six épigraphes antiques, L. 131, is a suite of six pieces by Claude Debussy, originally written for piano duo.
 Completed in July 1914, the suite was Debussy's only completed composition that year.
 In 1915 Debussy transcribed them for piano solo.
 Much of the music (over 100 measures) is taken from the musical accompaniments he had written in 1901 for his friend Pierre Louÿs's erotic lesbian poems "Les Chansons de Bilitis".
Léon Roques (born 24 October 1839 in Aurignac, dead 1923) was a French transcriber who is best known for his transcriptions of Claude Debussy and Maurice Ravel.
 Perhaps his most familiar transcription is for violin and piano of Debussy's piano work "La plus que lente".
The Seduction of Claude Debussy is a 1999 concept album by Art of Noise, featuring a line-up of Trevor Horn, Anne Dudley, Paul Morley, and Lol Creme.
 Also appearing on the album are John Hurt, soprano Sally Bradshaw, Rakim, and Donna Lewis.
 The group blended the music of French impressionist composer Claude Debussy with drum and bass, opera, hip hop, jazz, and narration, and described the album as "the soundtrack to a film that wasn't made about the life of Claude Debussy."