Another significant influence, other than Chabrier - is from Satie, who had a notable effect on Debussy, on myself, and, to tell the truth, on the majority of modern French composers.
For Debussy the musician and the man I have had profound admiration, but by nature I'm different from him. I think I have always personally followed a direction opposed to that of the symbolism of Debussy.
I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.
I begin by considering an effect.
I did my work slowly, drop by drop. I tore it out of me by pieces.
I look like a moor.
It is beautiful; it is beautiful after all; I have said nothing; I leave nothing. I have not said what I wanted to say. I have so much more to say.
Music, I feel, must be emotional first and intellectual second.
My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation.
The only love affair I have ever had was with music.
We should always remember that sensitiveness and emotion constitute the real content of a work of art.
You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.
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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.