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Continue Joseph ʒozɛf mɔʁis ʁavɛl is a French composer, pianist and conductor. He is often associated with Impressionism with his elder contemporary , although both composers rejected the term. In the 1920s and 1930s, Ravel was considered 's greatest living composer. Born into a musical-loving family, Ravel studied at the Royal College of Music of France, the Paris Conservatory; he was not well regarded by his conservative establishment, whose bias against him caused a scandal. After leaving the conservatory, Ravel found his own way as a composer, developing a style of great clarity that included elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with the musical form, as in his most famous work, Bolero (1928), in which repetition takes the place of development. He made several orchestral arrangements of music by other composers, of which his version of Mussorgsky's 1922 paintings on the exhibition is the most famous. As a slow and painstaking worker, Ravel composed fewer works than many of his contemporaries. His works included pieces, chamber music, two piano concerts, ballet music, two operas (each less than an hour) and eight song cycles; he wrote no symphonies and only one religious work (Kaddish). Many of his works exist in two versions: first the piano score and then the orchestration. Some of his piano music, such as Gaspar de la Nuit (1908), are exceptionally difficult to play, and his intricate orchestral works such as Daphnis and Chloe (1912) require a skilful balance in performance. Ravel was one of the first composers to recognize the potential of recording to bring his music to the general public. Since the 1920s, despite his limited technique as a pianist or conductor, he has been involved in recording several of his works; others were made under his supervision. Early in his life and career, Ravel was born in the Basque city of Sibur, France, near Biarritz, 18 kilometers from the Spanish border. His father, Pierre-Josef Ravel, was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. (n 1) His mother, Marie, who is at Deloart, was Basque. In the 19th century Joseph married below his status - Marie was illegitimate and barely literate - but the marriage was happy. Some of Joseph's inventions were successful, including an early internal combustion engine and the notorious circus car, Whirlwind of Death, a car loop loop that was a big draw before the deadly accident at Barnum and the Bailey Circus in 1903. Both of Ravel's parents were Catholics; Marie was also a sort of free thinker, a trait inherited by her eldest son, who was politically and socially socially worldview in adulthood. He was baptized in the parish church of Sibur six days after his birth. The family moved to Paris three months later, and there was a younger son, Edouard. (He was close to his father, whom he eventually followed in the engineering profession.) Maurice was particularly devoted to his mother; its Basque heritage greatly influenced his life and music. Among his earliest memories were folk songs she sang to him. The family was not rich, but the family was comfortable and the two boys had a happy childhood. Ravel Sr. gladly took his sons to factories to see the latest mechanical devices, but he was also very interested in music and culture in general. In later life, Ravel recalled, Throughout my childhood I was sensitive to music. My father, much better educated in this art than most amateurs, knew how to develop his taste and stimulate my enthusiasm at an early age. There is no record of Ravel receiving any formal general education in the early years of his life; his biographer Roger Nichols suggests that the boy may have been mostly educated by his father, although free compulsory secular education became law in 1882. When he was seven years old, Ravel began piano lessons with Henry Guillaume, a friend of ; five years later, in 1887, he began to study harmony, counterpoint and composition with Charles-Rene, a disciple of Leo Delibes. Not being a prodigy, he was a very musical boy. Charles-Rene discovered that the concept of Ravel's music was natural to him, rather than, as in many others, the result of effort. Ravel's earliest known compositions date back to this period: variations on Schumann's chorale, variations on the Grieg theme and one movement of the piano sonata. They survive only in fragmented form. In 1888, Ravel met the young pianist Ricardo Vines, who became not only a lifelong friend, but also one of the main interpreters of his works, and an important link between Ravel and Spanish music. They praised Wagner, Russian music and the works of Po, Baudelaire and Mallarme. At the exhibition The Universe in Paris in 1889, Ravel was very impressed with the new Russian works of Nikolai Roman-Korsakov. This music had a lasting influence on both Ravel and his older contemporary Claude Debussy, as well as the exotic sound of the Javanese gamer, also heard during the exhibition. Emile Decombe took the place of Ravel's piano teacher in 1889; in the same year, Ravel made his earliest public appearance. At the age of fourteen, he took part in a concert at Salle Gerard along with other Decombes students including Reynaldo Khan and Alfred Corto. Paris Conservatory with the support of parents, Ravel applied to join the most important musical in France Paris Conservatoire. In November 1889, playing Chopin's music, he passed the exam for admission to the preparatory piano class under Eugene Angiome. Ravel won the first prize at the conservatory's piano competition in 1891, but otherwise he does not stand out as a student. However, these years were a time of significant progress in his development as a composer. Musicologist Arbi Orenstein writes that for Ravel the 1890s was a period of huge growth... from adolescence to adulthood. In 1891, Ravel moved into the classes of Charles-Wilfried de Berio, for piano, and Emile Pessar, for harmony. He made solid, unimpressive progress, with special support from Beriot, but, according to music scientist Barbara L. Kelly, he was trained only on his own terms. His later teacher Gabriel Faure understood this, but it was unacceptable for the conservative faculty of the conservatory of the 1890s. (n 2) His early works to survive in full from these student days: Serade grotesque, for piano, and Ballad de la Reine morte d'aimer n 3 , melodies of the installation poem by Roland de Maris (both 1893). Ravel has never been such a plodding piano student as his colleagues such as Vines and Corto. (n 4) It was clear that as a pianist he would never match them, and his main ambition was to be a composer. From that moment on, he focused on composition. His works from that period include the songs Un Grand Sommeil noir and D'Anne jouant de l'espinette by Paul Verlaine and Clement Maro, as well as piano pieces and Habanera (for four hands), the latter eventually included in the . Around the same time, Joseph Ravel introduced his son to Eric Satie, who made a living as a cafe pianist. Ravel was one of the first musicians - Debussy was another - who recognized the originality and talent of Satie. Sati's constant experiments in musical form inspired Ravel, who considered them an invaluable value. In 1897, Ravel was re-admitted to the conservatory, studying composition with Faure and taking private lessons at counterpoint with Andre Gedalge. Both teachers, especially Faure, praised him and had a key influence on his development as a composer. As the course progressed, Ravel Faure reported a clear maturity... attracting the wealth of imagination. Nevertheless, Ravel's position in the conservatory was undermined by the hostility of director Theodore Dubois, who expressed regret over the young man's musical and politically progressive worldview. Consequently, according to fellow student Michel-Dimitri Calvokorssi, he was a notable man against whom all guns were He wrote several significant works while studying with Faure, including Schuherazade's overture and violin sonata, but he did not win any prizes and was therefore banished again in 1900. As a former student, he was allowed to attend Faure's classes as an unapproved auditor until the conservatory was finally abandoned in 1903. In 1899, Ravel composed his first play, which became widely known, although initially it had little impact: Pavane pour une infante d'funte (Pavane for the Dead Princess). Originally it was a solo piano work commissioned by Princess de Polignac. In the same year, he conducted the first performance of Schucherade's overture, which had a mixed reception, with boos, mingling with applause from the audience, and unflattering reviews from critics. Henri Gette-Villars (Willie) described the play as a shock debut: the clumsy plagiarism of the Russian school and called Ravel a mediocre debutant ... who might become something, if not someone in about ten years if he worked hard. Another critic, Pierre Lalo, believed that Ravel had shown talent but was too indebted to Debussy and should imitate Beethoven instead. Over the following decades, Lalo became Ravel's most implacable critic. From the very beginning of his career, Ravel seemed quietly indifferent to guilt or praise. Those who knew him well believed that it was not a pose, but a completely authentic one. The only opinion about his music, which he really appreciated, was his own, perfectionist and highly self-critical. At the age of twenty, he was, in the words of Burnett James's biographer, self-in-a-side, a little out of the way, intellectually biased, given to a soft stem. He dressed as a dandy and was meticulous about his appearance and behavior. Orenstein comments that, lacking in height, and bony in the frame, and bony in features, Ravel had the appearance of a well-dressed jockey whose big head seemed to suit his formidable intellect. In the late 1890s and in the early years of the next century, Ravel was bearded in the fashion of the time; from the mid-thirties he was clean shaven. et Debussy Pavane pour une infante d'funte performed by Teresa Dussaute. Problems with playing this file? See the media report. Around 1900, Ravel and a number of innovative young artists, poets, critics and musicians joined an informal group; they were known as Les Apaches (Hooligans), a name coined by Vines to represent their status as artistic rogue. They met regularly before World War I, and members stimulated each other with intellectual arguments and speeches of their works. The group included and , as well as their French friends. (n 9) Among the enthusiasm there was Debussy's music. Ravel, a twelve-year-old junior, had known Debussy a little since the 1890s, and their friendship, though never close, lasted more than a decade. In 1902, Andre Poszrir conducted the premiere of Debussy's opera Pelleas and Melisande at the Opera Comic. It divided the musical opinion. Dubois was barred from attending the conservatory, and the conductor's friend and former teacher Camille Saint-Saens was among those who did not check the work. The Apaches were loud in their support. The first run of the opera consisted of fourteen performances: Ravel was present at all of them. Debussy was widely recognized as an impressionist composer, a label he did not like much. Many music lovers began to use the same term to Ravel, and the works of two composers were often accepted as part of the same genre. Ravel thought Debussy was indeed an impressionist, but that he wasn't. Ravel wrote that the genius of Debussy was obviously one of the great personalities, creating his own laws, constantly in evolution, expressing himself freely but always faithful to the French tradition. For Debussy, a musician and a man, I had a deep admiration, but by nature I am away from Debussy ... I think I have always personally followed the instructions contrary to this . In the early years of the new century, Ravel's new works included the piano piece Jeux d'eau n 11 (1901), the and the orchestral song cycle Schoherazada (both 1903). Commentators noted some derussiaian touches in some parts of these works. Nichols calls the quartet an immediate tribute to the respect and exorcism of Debussy's influence. The two composers ceased to be friendly in the middle of the first decade of the 1900s, for musical and perhaps personal reasons. Their fans began to form factions, and adherents of one composer denigrated another. There were disputes about the chronology of the composers' works and who influenced whom. Prominent in the anti-Ravel camp was Lalo, who wrote, where M. Debussy all sensitivity, M. Ravel all insensitivity, lending without hesitation not only the method but the sensitivity of other people. Ravel said, Perhaps we should end up being on cold terms for illogical reasons. Nichols offers an additional reason for the split. In 1904, Debussy left his wife and went to live with the singer Emma Bardack. Ravel, along with his close friend and confidant Misia Edwards and opera star Lucien Breval, contributed a modest regular income for the desert lilies debussy, a fact that Nichols offers have rankled with her husband. Scandal and success In the early years of the new century Ravel made five attempts to win the most prestigious prize of France for young composers, the Prize of Rome, in the past the winners of which were Berlioz, Gunod, Bizet, Massenet and Debussy. In 1900, Ravel was eliminated in the first round; in 1901 he won the second prize of the competition. In 1902 and 1903 he won nothing: according to musicologist Paul Landormi, the judges suspected Ravel of making fun of them by presenting cantatas so academic that they seemed like parodies. In 1905, Ravel, now thirty, competed for the last time, inadvertently causing a furore. He was ruled out in the first round, which even critics unsympathetic to his music, including Lalo, denounced as unjustified. The indignation of the press grew when it was revealed that the conservatory's senior professor Charles Lenepeu was on the jury, and only his students were selected for the final round; His insistence that it was pure coincidence was not well received. L'affaire Ravel became a national scandal, which led to the early resignation of Dubois and his replacement Faure, appointed by the government to carry out a radical reorganization of the conservatory. Among those who show great interest in the controversy was Alfred Edwards, owner and editor of Le Matin, for whom Lalo wrote. Edwards was married to a friend of Ravel Misia; In June and July 1905, the couple embarked on a seven-week cruise on the Rhine on their yacht, having traveled abroad for the first time. In the second half of the 1900s, Ravel created a piano writing template and then organized them for a full orchestra. He was generally a slow and painstaking worker, and the reworking of his early piano compositions allowed him to increase the number of works published and performed. There did not appear to be any self-serving motives; Ravel was known for his indifference to financial matters. The pieces, which began as piano compositions and then received an orchestral dress, were Pavane pour une infante d'funte (orchestrated 1910), Une barque sur l'oc'an (1906, from the piano suite of 1905 ), the Section Habanera Rapsodie espagnole (1907-1908), Ma m're l'Oye (1908-191 0), Valses nobles et sentimentales (1911, 1912), (from Mirars, organized 1918) and Le Tombo de Couperin (1914-17 organized 1919). Ravel was not a teacher, but he gave lessons to several young musicians who he thought could benefit from them. was alone, and records that Ravel was a very demanding teacher when he thought his pupil was a talent. Like his own teacher, Faure, he was concerned that his students should find their own individual voices and not be overly influenced by the established He warned Rosenthal that it was impossible to learn from the study of Debussy's music: Only Debussy could write it and make it sound as if only Debussy could sound. When George Gershwin asked him for lessons in the 1920s, Ravel, after serious consideration, refused, on the grounds that they probably make him write bad Ravel and lose his great gift of melody and spontaneity. The most famous composer who studied with Ravel was probably , who was his apprentice for three months in 1907-08. Vaughan Williams recalled that Ravel helped him get away from a heavy dodgy Teutonic manner ... The complex mais pas complique was his motto. Vaughan Williams's memoirs shed light on Ravel's personal life, about which the restrained and secretive personality of the latter led to great speculation. Vaughan Williams, Rosenthal and recorded that Ravel often visited brothels. Long explained this with his self-awareness of his diminutive growth and, as a result, a lack of trust in women. According to other reports, none of them was in love with Misia Edwards or wanted to marry the violinist Helen Jurdan-Morhange. Rosenthal records and discounts the modern speculation that Ravel, a lifelong bachelor, may have been homosexual. Such speculations were repeated in 2000 in the life of Ravel by Benjamin Ivri; Subsequent research concluded that Ravel's sexuality and personal life remain a mystery. Ravel's first concert outside France took place in 1909. As a guest of Vaughan Williams, he visited London, where he played for the Soci'te de Concerto France, receiving positive reviews and enhancing his growing international reputation. From 1910 until World War I, the National Museum, founded in 1871 to promote the music of rising French composers, was dominated from the mid-1880s by a conservative faction led by Vincent d'Indi. Ravel, along with several other former students of Faure, created a new modernist organization, Soci'te Musicale Ind'pendente, and fore is the president. (n 16) The first concert of the new society took place on April 20, 1910; Seven points of the program included the premieres of the song cycle Faure La chanson d''ve, the piano suite debussy D'un cahier d'esquises, Six Pies by zoltan Codeli and the original version of the piano duet Ravel Ma m're l'Oye. Performers included Faure, Florent Schmitt, Ernest Bloch, Pierre Monte and, in the work of Debussy, Ravel. Kelly sees a sign of Ravel's new influence that society showed Sati's music at a concert in January 1911. The first of Ravel's two operas, the single-sleep comedy L'heure espagnole n 17, took place in 1911. The work was completed in 1907, but the head of Opa-Konike, Carre, repeatedly postponed his presentation. He was concerned that his plot - a bedroom farce - would be poorly received by the ultra-respected mothers and daughters who were an important part of the Opara-Comic audience. The play was only modestly successful in its first production, and only in the 1920s it became popular. In 1912, three of Ravel's ballets premiered. The first, to an organized and extended version of Ma m're l'Oye, opened at the Arts Theatre in January. Reviews were excellent: Mercure de France called the score absolutely delightful, a masterpiece in miniature. Music quickly entered the concert repertoire; it was played at the Royal Hall, London, for several weeks after the Paris premiere, and was repeated at proms later that year. The Times praised the charm of the work ... the effect of a mirage with which something very real seems to float on nothing. New York audiences heard this work the same year. Ravel's second ballet of 1912 was Adalade y le Langage de Fleurs, danced to the score of the nobles of Waltz and sentimentalism, which opened in Chatel in April. Daphnis and Chloe opened at the same theater in June. It was his biggest orchestral work, and took him a huge trouble and a few years to complete. Daphnis and Chloe were commissioned in 1909 by impresario Sergei Diaghilev for his company Ballets Russes. (n 18) Ravel began working with Diaghilev choreographer Michel Fokin and designer Leon Bakst. Fokin had a reputation for his modern approach to dance, with individual numbers replaced by continuous music. This turned to Ravel, and after a detailed discussion of the action with Fokin, Ravel began to compose music. There were often disagreements between the staff, and the premiere was not rehearsed enough due to the late completion of the work. It had an unenthusiastic reception and was quickly withdrawn, although it was successfully revived a year later in Monte Carlo and London. Efforts to complement the ballet had a negative impact on Ravel's health; Neurasthenia forced him to rest for several months after the premiere. Ravel did little in 1913. He collaborated with Stravinsky on a performing version of Mussorgsky's unfinished opera Hovanshchina, and his own works were Trois sing de Mallarme for soprano and chamber ensemble, as well as two short piano pieces, A la Manner Borodin and A la Manner de Chabrier. In 1913, together with Debussy, Ravel was among the musicians who attended the dress rehearsal of . Stravinsky later said that Ravel was the only person who immediately understood the music. Ravel predicted that the premiere of the rite would be seen as an event of historical significance equal to and Melisande. (n 20) War When Germany invaded France in 1914, Ravel tried to join the French air force. He considered his small height and light weight ideal for the pilot, but was rejected due to his age and minor heart complaints. After several unsuccessful attempts to recruit, Ravel finally joined the Thirteenth Artillery Regiment as a truck driver in March 1915, when he was forty. Stravinsky expressed admiration for his friend's courage: At his age and with his name, he could have had a lighter place, or nothing to do. Some of Ravel's duties put him in mortal danger, driving ammunition at night under heavy German bombardment. At the same time, his peace of mind was undermined by his mother's lack of health. His own health also deteriorated; he suffered from insomnia and digestive problems, underwent bowel surgery after amoebic dysentery in September 1916, and the following winter frostbite on his feet. During the war, the National League for the Defense of France was formed by Saint-Sanami, Dubois, d'Indi and others, agitating for a ban on the performance of modern German music. Ravel refused to join, telling the league's committee in 1916: It would be dangerous for French composers to systematically ignore the performances of their foreign colleagues and thus form themselves into a kind of national group: our musical art, which is so rich now, will soon degenerate, becoming isolated in banal formulas. In response, the league banned Ravel's music from its concerts. Ravel's mother died in January 1917, and he fell into terrible despair, compounding the suffering he suffered from the suffering endured by the people of his country during the war. He wrote several works during the war years. The was almost complete when the conflict began, and the most significant of his war works is The , composed between 1914 and 1917. The suite is dedicated to the traditions of Francois Couperin, the 18th-century French composer; each movement is dedicated to Ravel's friend, who died in the war. In the 1920s, after the war, Ravel's family realized that he had lost most of his physical and mental endurance. As musicologist Stephen Sank says, Ravel's emotional balance, so badly won in the previous decade, was seriously compromised. His output, never big, became smaller. However, after Debussy's death in 1918, he was generally seen in France and abroad as the leading French composer of that era. Faure wrote to him: I am happier than you can imagine about the enduring position you occupy and which you have acquired so brilliantly and so quickly. It is a source of joy and pride for your old professor. Ravel was honored Legion of Honour in 1920, and though he he decoration, it was regarded by a new generation of composers, typical protege Sati Les Six as the creation of a figure. Sati turned against him and said, Ravel refuses the Legion of Honor, but all his music accepts him. Despite this attack, Ravel continued to admire Sati's early music and always recognized the old man's influence on his own development. Ravel favored Les Six, promoting their music and protecting it from journalistic attacks. He considered their reaction to his works to be natural and preferable to copying his style. Thanks to the musical Societe to the Independent, he was able to encourage them and composers from other countries. The Syset featured concerts by recent works by American composers including Aaron Copeland, Virgil Thomson and George Athale, as well as Vaughan Williams and his English colleagues Arnold Bucks and Cyril Scott. Orenstein and Sank comment that although Ravel's postwar output was small, averaging only one composition a year, it included some of his best works. In 1920 he completed , in response to Diaghilev's commission. He worked on it intermittently for several years, planning a concert piece, a kind of apotheosis of the Viennese waltz, mixed with, in my opinion, the impression of a fantastic, fatal whirlwind. He was rejected by Diaghilev, who said: It is a masterpiece, but it is not a ballet. It's a portrait of ballet. Ravel heard Diaghilev's sentence without protest and arguments, left and no longer had any relations with him. Nichols notes that Ravel was very pleased to see the ballet staged twice by other guides before Diaghilev's death. The ballet, danced to an orchestral version of Le tombeau de Couperin, was given at the Champs-Elysees Theatre in November 1920, and the premiere of La valse took place in December. The following year, Daphnis and Chloe and L'heure espagnole were successfully revived at the Paris Opera. In the post-war period there was a reaction to the large-scale music of such composers as Gustav Mahler and . Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is written for voices and 21 instruments. Ravel did not like this work (his opinion caused a chill in Stravinsky's friendship with him), but he was in sympathy for the fashion of depuiment - stripping pre-war extravagance to reveal the basics. Many of his works of the 1920s are noticeably sparing in texture than previous works. Other influences on him during this period were jazz and atonality. Jazz was popular in Parisian cafes, and French composers such as Darius Miyo included its elements in the Ravel noted that he prefers jazz to great opera, and his influence is audible in his later music. Arnold Schoenberg's rejection of the usual tonality also had echoes in some of Ravel's musical songs, such as chansons mad'casses (24) (1926), which Ravel doubted he could write without the example of Piero Lunaire. His other major works from the 1920s include an orchestral arrangement of Mussorgsky's piano suite Pictures on Show (1922), opera L'enfant et les sortil'ges (1926) to the libretto of Colette (1926), Tsigan (1924) and The Violin Sonata (1927). Finding the city's life tedious, Ravel moved to the country. In May 1921, he settled in Le Belvedere, a small house on the outskirts of Montfort-l'Amory, 88 kilometres west of Paris, in the department of Yvelines. She was looked after by a devoted housekeeper, Mrs. Revelot, he lived there for the rest of his life. In Le Belvedere, Ravel composed and fenced when he did not perform in Paris or abroad. His touring schedule increased significantly in the 1920s, with concerts in the UK, Sweden, Denmark, USA, Canada, Spain, Austria and Italy. Ravel was fascinated by the dynamism of American life, its vast cities, skyscrapers and cutting-edge technology, and was impressed by its jazz, negro spirituality and the superiority of American orchestras. American cuisine seems to be a different matter. Arby Orenstein. After two months of planning, Ravel toured North America for four months in 1928, playing and conducting. His fee was a guaranteed minimum of $10,000 and a constant supply of Gauloises cigarettes. He has performed with most of The leading orchestras in Canada and the United States and visited twenty-five cities. The audience was delighted, and the critics were free. (n 26) In the New York program Ravel, which was led by Serge Kuusevitskiy, the entire audience stood up and applauded when the composer took his place. Ravel was moved by this spontaneous gesture and remarked, You know, this is not the case with me in Paris. Orenstein, commenting that this tour marked the zenith of Ravel's international reputation, lists his non- musical moments, like visiting Po's house in New York, and excursions to Niagara Falls and the Grand Canyon. Ravel was unfazed by his new international celebrity. He noted that the recent enthusiasm of critics is no more important than their previous judgments, when they called it the most wonderful example of insensitivity and lack of emotion. Ravel's last work, completed in the 1920s, became his most famous: Bolero. He was tasked with giving the score to the ballet troupe Ida Rubinstein, and, unable to secure the rights to orchestrate Iberia Albeniz, he decided to experiment in a special and limited direction ... piece lasting seventeen and consisting entirely of orchestral fabric without music. Ravel continued that the work was one long, very gradual crescendo. There are no contrasts, and there is almost no invention, except for the plan and the way of execution. Topics are generally impersonal. He was amazed, and not quite pleased that he had become a massive success. When an elderly audience member in Ore shouted Rubbish! At the premiere, he remarked: This old lady got a message! The work was popularized by conductor Arturo Toscanini and was recorded several hundred times. (n 27) Ravel commented on Arthur Honegger, one of Les Six: I wrote only one masterpiece - Bolero. Unfortunately, there is no music in it. In recent years, in the early 1930s, Ravel worked on two piano concerts. He completed the piano concerto in D major for the left hand first. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during the war. Ravel was stimulated by the technical problems of the project: In such work it is important to create the impression of texture no thinner than that of the part written for both hands. Ravel, not experienced enough to do the work only with his left hand, demonstrated it with both hands. No 28 Wittgenstein was initially disappointed with the work, but after a long study he became fascinated with it and appreciated it as a great work. In January 1932, he held a premiere in Vienna to instantly receive recognition, and performed it in Paris with Ravel, the conductors the following year. Critic Henry Prunier wrote, From the first steps we are immersed in the world in which Ravel, but rarely introduced us. The piano concerto at G Major was completed a year later. After the premiere in January 1932, there was high praise for the soloist Marguerite Long and Ravel's score, though not for his conducting. Long, dedicated, played a concert in more than twenty European cities, with the composer conducting; They planned to record it together, but at the sessions Ravel limited himself to overseeing the process, and Pedro de Freitas Branco conducted it. His last years were brutal because he gradually lost his memory and some of his coordinating powers, and he was certainly quite aware of it. Igor Stravinsky was hit in the head in October 1932 by Ravel in a taxi accident. The injury was not considered serious at the time, but in a 1988 study for the British Medical Journal, neurologist R.A. Henson concludes that this may have exacerbated an existing brain disease. As early as 1927, close friends were concerned about Ravel's growing absent-mindedness, and within a year of the accident he began to develop symptoms suggesting aphasia. Before the accident, he began working on for the film Don quixote (1933), but he could not find out the production schedule, and most of the score was written by Jak Ibert. Ravel performed three songs for the baritone and orchestra, intended for the film; they were published as Don quicott and Dulcine. The orchestral score of the manuscript is in Ravel's hand, but Lucien Garban and Manuel Rosenthal helped in the transcription. After that, Ravel no longer composed. The exact nature of his illness is unknown. Experts have ruled out the possibility of tumors, and variously suggested frontotemporal dementia, Alzheimer's disease and Creutzfeldt-Jakob disease. In 1934, he spent some time at Mon Repos, a nursing home in Le Mon Pelerin, Switzerland. Although Ravel could no longer write music or perform, he remained physically and socially active until the last months. Henson notes that Ravel has kept most or all of his auditory images and still heard music in his head. In 1937, Ravel began to suffer from pain from his condition, and was examined by Clovesky Vincent, a famous Parisian neurosurgeon. Vincent advised surgical treatment. He believed that the tumor was unlikely, and expected to find ventricular dilation, which can prevent progression. Ravel's brother, Edward, took this advice; As Henson comments, the patient was unable to express the view. After the surgery, it seemed to improve his condition, but it was short-lived, and soon he fell into a coma. He died on 28 December at the age of 62. On December 30, 1937, Ravel was buried next to his parents in a granite tomb in a cemetery in Levalloia Perret, a suburb northwest of Paris. Ravel was an atheist, and there was no religious ceremony. The catalogue of ravel's complete works, presented by Marcel Marnat, lists 85 works, including many incomplete or abandoned works. Despite the fact that this amount is small compared to the output of his main contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano, and then rewriting them as independent pieces for the orchestra. The performed body of works is about sixty; just over half play an important role. Ravel's music includes piano pieces, chamber music, two piano concerts, ballet music, opera and song cycles. He did not write any symphonies or religious works (except kaddish). Ravel relied on many generations of French composers from Couperin and Ramo to Faure and later to the innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself a classic, often using traditional structures and forms such as the thorn to present his new melodic and rhythmic content and innovative harmonies. The effect of jazz on it further music is audible in the usual classical structures in the piano and the Violin Sonata. Whatever sauce you put around the melody, it's a matter of taste. The melodic line is important. Ravel Vogan Williams Ravel instilled great importance in the melody, telling Vaughan Williams that there is an implied melodic contour in all the vital music. Its themes are often modal instead of using familiar large or secondary scales. As a result, there are few leading notes in his output. The chords of the ninth and eleventh and unresolved appoggiaturas, such as in the valses of nobles and sentimental, are characteristic of Ravel's harmonic language. Dance forms appealed to Ravel, the most famous bolero and pavana, as well as minuet, forlan, rigaudon, waltz, tsardas, habanera and passacaglia. National and regional consciousness was important to him, and although the planned concert on Basque themes never materialized, his works include allusions to hebratic, Greek, Hungarian and Gypsy themes. He wrote several short works, paying tribute to the composers he admired - Borodin, Chabrier, Faure and Haydn , interpreting their characteristics in the Ravallian style. Another important influence was literary rather than musical: Ravel said he learned from Po that true art is the perfect balance between pure intelligence and emotion, and as a result, a piece of music should be a perfectly balanced entity without inappropriate material allowed to invade. Ravel's operas completed two operas and worked on three others. The unrealized three were Olympia, La cloche engloutie and Jeanne d'Arc. Olympia was to be based on Hoffmann's Sandman; he sketched for him in 1898-99, but did not go far. La cloche engloutie after Hauptmann's Sunken Bell occupied it intermittently from 1906 to 1912, Ravel destroyed sketches for both of these works, except for Symiephon horlog're, which he included in the opening of L'heure espagnole. The third unrealized project is an operatic version of Joseph Deltail's 1925 novel about Joan of Arc. It was supposed to be a large-scale, full-length work for the Paris Psira, but Ravel's last illness prevented him from writing it. Ravel's first completed opera was L'heure espagnole (which premiered in 1911), described as a comedy musical. It is among the works established in Spain or illustrating Spain that Ravel has written throughout his career. Nichols notes that the main Spanish coloration gave Ravel an excuse for the virtuoso use of the modern orchestra, which the composer considered perfectly designed to blur and exaggerate comic effects. Edward Burlingham Hill found Ravel's vocal writing particularly skilful in his work, giving singers something other than a recitative without obstructing action, and commenting on orchestral dramatic situations and the feelings of the actors without being distracted from the stage. Some find the characters artificial, and the works are lacking in humanity. Critic David Murray writes that the score shines with the famous Ravel Tenadet. The second opera, also in one act, is L'enfant et les sortil'ges (1926), lyrique fantaisie to Colette's libretto. She and Ravel planned the story as a ballet, but at the suggestion of the composer Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera musicians. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds a deeply serious feeling at the heart of this vivid and entertaining work. The score gives the impression of simplicity, softening the intricate connections between themes, with, in Murray's phrase, extraordinary and mesmerizing sounds from the orchestra pit. Despite the fact that single-adult operas are usually staged less frequently than full-length operas, ravely are regularly produced in France and abroad. Other vocal pieces Much of Ravel's production was vocal. His early work in this field includes cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as a static, recitative vocal style, prominent piano parts and rhythmic flexibility. By 1906 Ravel had gone even further than Debussy, a natural, sometimes colloquial, setting of French in . The same technique is highlighted in Trois-peumes de Mallarme (1913); Debussy has staged two of the three poems concurrently with Ravel, and the words of the first word-setting are noticeably more formal than the last, in which syllables are often elided. In the cycles Sheherazade and Shansons of The MadMen Ravel gives free rein to his taste for the exotic, even sensual, both in the vocal line and in the accompaniment. Ravel's songs often draw on folk styles, using elements of many folk traditions in works such as Cinq m'lodies populaires grecques, Deux m'lodies h'bra'ques and Chants populaires. Among the poets on whose texts he painted were Maro, Leon-Paul Farg, Leconte de Lisl and Verlaine. For three songs dating from 1914-15, he wrote his own lyrics. Although Ravel wrote for mixed choirs and male solo voices, he is mostly associated in his songs with the voices of soprano and mezzo-soprano. Even when the lyrics are explicitly narrated by a man, he often advocates for a female voice, and he seems to prefer that his most famous cycle, Schoherade, be performed by a woman, although the tenor voice is a permitted alternative in the score. Orchestral works In his lifetime it was above all as a master of orchestration that Ravel Famous. He carefully studied the ability of each orchestral instrument to determine its potential, making the most of its individual color and timbre. Critic Alexis Roland-Manuel wrote: In fact, he, with Stravinsky, is one person in the world who knows best the weight of a trombone-note, cello harmonica or pp tam-tam in the relationship of one orchestral group with another. Despite Ravel's orchestral skills, only four of his works were conceived as concert pieces for the symphony orchestra: Rapsodie espagnole, La valse and two concerts. All other orchestral works were written either for the stage, as in Daphnis et Chlo, or as a reworking of piano pieces, Alborada del gracioso and Une barque sur l'ocean, (Miroirs), Valses nobles et sentimentales, Ma m're l'Oye, Tzigane (originally for violin and piano) and Le tombeau de Couperin. In orchestral versions, the instruments usually clarify the harmonic language of the score and bring sharpness to the classical dance rhythms. Sometimes, as in Alborada del gracioso, critics found the later orchestral version less convincing than the pointed piano original. In some of his 1920s scores, including Daphnis and Chloe, Ravel often shares his top strings, having them play in six or eight parts, while the wooden wind must play with extreme dexterity. His writing for brass ranges from mildly muted to triple-flash fort in climatic spots. In the 1930s, he tended to simplify his orchestral textures. The lighter tone of the large piano concerto follows the models of Mozart and Saint-Saens, along with the use of jazz themes. Critics Edward Sackville-West and Desmond Shaw-Taylor comment that in slow motion, one of the most beautiful melodies ever invented by Ravel, the composer can really be told to team up with Mozart. The most popular of Ravel's orchestral works, Bolero (1928), were conceived a few years before its completion; In 1924, he said that he was considering a symphonic poem without a subject where all interest will be in rhythm. Ravel made orchestral versions of the piano works of Schumann, Shabrier, Debussy and the piano of Mussorgsky Pictures on display. Orchestral versions of the last Mikhail Tushmolov, Sir Henry Wood and Leo Funtek preceded Ravel's 1922 version, and many others have been made since then, but Ravel remains best known. Kelly notes his dazzling array of instrumental colors, and the contemporary reviewer comments how, when dealing with the music of another composer, Ravel created an orchestral sound quite unlike his own. Piano music Although Ravel has written less than thirty works for piano, they illustrate his range; Orenstein notes that the composer keeps his personal touch from the startling Ma-mayor l'Oy to the transcendent virtuosity of Gaspar de la Nuita. Ravel's earliest major piano work, Jeux d'eau (1901), is often cited as proof that he developed his style independently of Debussy, whose major work for piano all came later. When writing for piano solo, Ravel rarely aimed at the intimate chamber effect typical of Debussy, but sought Liszt's virtuosity. The authors of The Record Guide believe that works such as and Miroirs have beauty and originality with deeper inspiration in the harmonic and melodic genius of Ravel himself. Most of Ravel's piano music is extremely complex in play and presents pianists with a balance of technical and artistic challenges. (n 31) Piano music critic Andrew Clarke commented in 2013: Ravel's successful interpretation is a finely balanced thing. It includes a subtle musicality, a sense of pianistic color and the kind of lightly worn virtuosity that masks the advanced technical problems that it does in Alborada del Gracioso ... and two external movements of Gaspar de la Nuita. Too much temperament, and music loses its classical form; too little, and it sounds pale. This balance caused a rift between the composer and Vines, who said that if he observed the nuances and speed provided by Ravel in Gaspar de la Nuit, Le gibet would lead the audience to death. Some pianists continue to attract criticism for over-interpreting Ravel's piano writing. No. 32 Ravel's attitude to his predecessors can be heard in several of his piano works; Menuet-sur-le-nom de Haydn (1909), a la Manier de Borodin (1912), A la Manier de Chabrier (1913) and Le tombeau de Couperin - all of which include elements of named composers, interpreted in the characteristic Ravelli manner. Clarke comments that the piano works that Ravel later arranged are overshadowed by the revised versions: Listen to Le Tombo de Couperin and full ballet music for Ma'eau L'Oie in classical recordings hosted by Andre Cleutin, and piano versions never sound quite the same. Chamber music In addition to a one-time sonata for violin and piano, dated 1899, not published during the composer's lifetime, Ravel wrote seven chamber works. The earliest is the string quartet (1902-1903), dedicated to Faure, and showing the influence of the Debussy quartet ten years ago. Like Debussy, he differs from the more monumental quartets of the established French school of Frank and his followers with more succinct melodies, freely interchangeable, in flexible tempos and varieties of instrumental color. Introduction and Allegro for harp, flute, clarinet and string quartet (1905) was composed very quickly according to Ravel's standards. It's ethereal. Pour into the vein of Pavan Infante defunte. Ravel also worked at an unusual speed on the piano trio (1914) to complete it before joining the French army. It contains Basque, baroque and Far Eastern influences, and shows Ravel's growing technical prowess, dealing with the difficulty of balancing the percussion piano with the steady sound of violin and cello, mixing two disparate elements in a musical language that is unmistakably his own, according to commentator Keith Anderson. Four chamber works by Ravel, composed after the First World War, are the Sonata for Violin and Cello (1920-1922), Berceuse sur le nom de Gabriel Faur for violin and piano (1922), the chamber original of Cigane for violin and piano (1924) and finally the Violin Sonata (1923-1927). The two medium works are, respectively, an affectionate tribute to ravel's teacher and a virtuoso exhibition for the violinist Jelli d'Aranyi. Violin and cello of the Sonata is a departure from the rich textures and harmonies of the pre-war piano trio: the composer said that this was a turning point in his career, with the thinness of the texture pushed to extreme and harmonious charm, disavowing in favor of pure melody. His latest chamber work, The Violin Sonata (sometimes called the Second Post Posthumous Publication of His Student Sonata), is often a dissonant work. Ravel said that violin and piano are essentially incompatible instruments, and that his Sonata shows their incompatibility. Sackville West and Shaw-Taylor consider postwar sonatas pretty hard and unsatisfactory, and none of the works corresponded to the popularity of Ravel's pre-war chamber works. Records of Ravel's interpretations of some of his piano works were shot on a piano roll between 1914 and 1928, although some of the rolls he allegedly played may have been made under his direction by Robert Casadesus, the best pianist. Translations of the rolls were released on the CD. Ravel was one of the first composers to recognize the potential of recording to bring his music to the general public, and throughout the 1920s there was a constant stream of recordings of his works, some of which featured the composer as a pianist or conductor. The recording of the main piano concerto of G 1932 was advertised as Conducted by the composer, although in fact he directed the sessions, while the more experienced conductor took the baton. The recordings for which Ravel was actually a conductor included Bolero in 1930 and a sound film about performing in 1933 at the great concert D as a soloist. The honors and legacy of Ravel gave up not only the Legion of Honour, but all the state awards of France, refusing to let his name go to the elections to the Institute of France. He accepted foreign awards, including an honorary membership of the Royal Philharmonic Society in 1921, the Belgian Ordre de Leopold in 1926 and an honorary doctorate from the University of Oxford in 1928. After Ravel's death, his brother and Edouard's Legonate turned the composer's house in Montfort l'Amory into a museum, leaving it largely as Ravel knew him. Since 2016, the Maurice Ravel House Museum remains open for excursions. In later years, Eduard Ravel announced his intention to leave most of the composer's estate to the city of Paris for the Nobel Prize in Music, but apparently changed his mind. After his death in 1960, the estate passed through several hands. Despite the significant fees paid for performing Ravel's music, the news magazine Le Point reported in 2000 that it was unclear who the beneficiaries were. The British newspaper The Guardian reported in 2001 that no money from royalties had been received for the contents of the Ravel Museum in Montfort-l'Amori, which was in poor condition of repair. Notes, links and sources of Joseph's Notes and Family are described in some sources as French and others as Swiss; Versoix is in modern (2015) Switzerland, but as the historian Philippe Morant points out, the nationality of families from the area has changed several times over generations as borders have moved; Joseph held a French passport, but Ravel preferred to simply say that his paternal ancestors were from the Jour. Students who had failed to win a competitive medal for three consecutive years were automatically excluded from their course. The Ballad of the queen who died of love (when he was a boy, his mother sometimes had to bribe him to do his piano exercises, and throughout his life colleagues commented on his aversion to practice. to share her bad look at the overture, calling it a clumsy failure. Ravel was 160 centimeters (5 feet 3 inches) tall. Other participants included composers Florent Schmitt, Maurice Delag and Paul Ladmiro, poets Leon-Paul Farg and Tristan Klingsor, artist Paul Sordes and critic Michel Calvokorssi. Later Ravel came to the opinion that impressionism is not suitable for any music and has only to do with painting. Literally Water Games, sometimes translated as Fountains that he presented at least one part deliberately parodying the necessary conventional form: Mirra's cantata, which he wrote for the 1901 contest. Musicologist David Lamaise suggested that Ravel felt a long-standing romantic attraction to Misia, and claims that her name is included in Ravel's music in the recurring model of notes E, B, A - Mi, Si, La in French. This remark was changed by Hollywood writers for the 1945 film Rhapsody in Blue, in which Ravel (played by Oscar Lorraine) tells Gershwin (Robert Alda) If you study with me, you will only write a second year for Ravel instead of Gershwin's first year. Ravel, known for his exquisite tastes, developed an unexpected enthusiasm in English cooking, especially steak and kidney pudding with thick. Faure also retained the presidency of the rival National Assembly, retaining the love and respect of members of both bodies, including D'Indi. The Spanish Hour - the year in which the work was commissioned is usually considered 1909, although Ravel remembered it as early as 1907. Ravel wrote to a friend: I have to tell you that last week was crazy: preparing a ballet libretto for the next Russian season. I work until 3 a.m. almost every night. To confuse the case, Fokin doesn't know a word of French, and I can only curse in Russian. Regardless of the translators, you can imagine the timbre of these conversations. The public premiere was a stage almost a riot, with factions of spectators for and against the work, but the music quickly entered the repertoire in the theater and concert hall. He never made it clear why he refused. Several theories have been put forward. Rosenthal believed that this was because so many died in a war in which Ravel did not actually fight. Another suggestion is that Ravel felt betrayed because, despite his wishes, his sick mother was told that he had joined the army. Edward Ravel said his brother refused the award because it was announced without the recipient's prior consent. Many biographers believe that Ravel's experience during the Prix de Rome scandal convinced him that government institutions were unavwys for progressive artists. Sati was known for turning against friends. In 1917, using obscene language, he confronted Ravel to the teenager Francis Poulenc. By 1924, Sati had given up Poulenc and another former friend of George Aurich. Poulenc told a friend that he was glad not to see Sati again: I admire him as always, but breathed a sigh of relief at last, not listening to his eternal rambling on the theme of Ravel... another duel. Harold Schoenberg calls Diaghilev a contender, and Gerald Larner as Ravel. The duel did not take place, and no such incident is mentioned in the biographies of Orenstein or Nichols, although both record that the violation was complete and permanent. Madagascar Songs and Child and Spells in The New York Times, Olin Downes wrote: Mr. Ravel has quietly and very well done his way as an artist. He despised superficial or simple consequences. He was his own most unprepared critic. In 2015, WorldCat listed more than 3,500 new or re-released recordings of the work. It was a question for an affectionate discussion among Ravel's friends and colleagues, whether he was worse at conducting or playing. In 2008, The New York Times published an article suggesting that the early effects of frontotemporal dementia in 1928 may explain Bolero's recurring character. This followed a 2002 article in the European Journal of Neurology, examining Ravel's clinical history and claiming that Bolero and the Piano Concerto for Left Hand suggest the effects of neurological diseases. The Grove Dictionary of Music and Musicians attributes Saint-Saens to 169 works, Faure 121 and Debussy 182. In 2009, the pianist Stephen Osborne wrote about Gaspar: This is a bloody discovery! I feel like I've tried every possible finger and nothing works. In desperation, I share the notes of the first bar between two hands, not playing them with just one, and suddenly I see a way forward. But now I need a third hand for the melody. In 2001, in a review of Gaspar de la Nuita's records, critic Andrew Clements wrote: Ivo Pogorelich ... deserves to be on this list too, but its wording is so condescending that in the end it can't be taken seriously... Ravel's writing is so carefully calculated and carefully defined that it leaves translators little room for manoeuvre; Ashkenazi occupies several liberties, as well as Argerih. Ravel himself admonished Marguerite Long: You must not interpret my music: you must be aware of it (Il ne faut pas interpreter ma music, il faut le r'iliser.) Other composers who recorded their music in the early years of the gramophone included Elgar, Grieg, Rachmaninoff and Richard Strauss. Caddish - Music as a Prayer by Albert Combrink. Received 2017-04-09. Nichols (2011), page 1 - Nichols (2011), page 390 - Quote in Nichols (2011), page 3 - Nichols (2011), page 6 - James, page 13 - Orenstein (1991), p. 9 - b Orenstein (1991), page 8 - Orenstein (1995), page 91-92 - Orenstein (1991), p. 10 - Citation in Gose, page 23 - b Nichols (2011), page 9 - Goss, p. 23 , Goss , page 24 , Barbara L. 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