Interesting comparison! Both composers have been life-long enchanters. If we only had three words to describe these musical phenomena, I'd call Ravel acerbic, Debussy intoxicant, both of them infinitely seductive. In high school (wow! 1968!) I watched cheerleaders practicing on the school stage. One played a record: the 3rd movement of La Mer, and they did unexpectedly sophisticated dance moves. Later, when my theater teacher assigned the class a "movement" exercise, I convinced my group to recreate that moment.
My great-great-grandfather was a close confidant of Maurice Ravel, a friendship that blessed our family with stories passed down through generations. One such story, vividly preserved in our family’s lore, concerns the summer of 1905, a time when Ravel and Claude Debussy shared something profound-more than just a passion for music. In that year, following the enthusiastic reception of Debussy’s Pelléas et Mélisande, he invited Ravel to spend the summer at his secluded cottage in the French countryside. The cottage was a picturesque haven, surrounded by lush forests and vibrant gardens, where the pressures of Parisian society seemed a distant echo. From the onset, their days were filled with composing and deep discussions about the evolving world of music. But as the days lengthened into evenings, their conversations meandered from professional critiques to personal revelations. It was during these nights, my great-great-grandfather recounted, that their bond deepened beyond the platonic, fueled by a shared loneliness and understanding that only fellow artists could comprehend. One night, under the infinite canvas of starlit skies, their dialogue took a turn towards the intimate. They had been discussing the emotive power of music, its ability to transcend mere notes and evoke deep, often unspoken feelings. The air was ripe with the scent of blooming lilacs, the only witness to their unfolding emotions. “Claude,” Maurice began, his voice hesitant yet hopeful, “do you ever feel that our music is a mere shadow of what stirs within us? That perhaps, there are melodies in our hearts that we dare not play?” Debussy, moved by the honesty in Maurice’s eyes, reached across the space between them, his hand brushing against Maurice’s. “Indeed, Maurice. And sometimes, I wonder if those melodies could be harmonized,” he replied, his tone soft but laden with meaning. The touch lingered, evolving naturally into an embrace. As they drew closer, their initial kiss was tentative, a questioning of boundaries and acceptance. But as the night deepened, so did their connection. The kisses grew more assured, each one a mutual exploration of long-suppressed desires. Their hands, previously used to crafting symphonies, now explored the contours of each other’s forms, each touch a silent note in their private composition. In the sanctity of Debussy’s cottage, they found solace and expression not just in music but in each other. The nights they spent together were filled with whispered confidences and laughter, the sharing of dreams and fears, the kind of sharing that weaves souls together. As summer faded into autumn, the reality of their separate lives in Paris began to loom. Yet, the intimacy shared in that brief, secluded summer left a lasting imprint on both men. It influenced their compositions, each note imbued with the memory of that special closeness-a closeness that was profound yet destined to remain private due to the conventions of their time. When it was time to part, their farewell was a poignant symphony of silent looks and soft touches, promises made without words. They continued their friendship, always with an undercurrent of the summer that changed them forever. This story, cherished and whispered through generations of my family, offers a glimpse into the hidden depths of Ravel and Debussy’s relationship-a tale of love, creativity, and the silent melodies of the heart that, once played, resonate throughout lifetimes.
Je n aime pas beaucoup Debussy , mais je reconnais qu il a été sacrement révolutionnaire : ôter tout aspect narratif a la musique était un sacré pari , et il l a réussi !
How is Ravel academic hahaha, he was expelled from the conservatoire and considered subversively modern. He was obsessed with perfection and form, that explains his admiration for Mozart (which is not academic either, is just pure genius, it's balance and mathematical perfection is just its startig point). The issue here is that Ravel is evluated mostly as a second hand Debussy, but he is just very different. Watch Yan Maresz's interview about orchestrating ravel for a fairer picture of Ravel.
Don’t take it that way. This is a very short excerpt. He is speaking as an academic/practitioner and is bringing a level of scholarship to this that is uniquely his and that very few of us have. I’m sure he means no disrespect to Ravel; how could he? Why would he? He is simply trying to delve into the creative genius of each composer which is unique.
Don't be. Salonen likes Ravel very much, that's probably why he conducts him all the time. If you check him out there is always some Ravel in his programs. He is merely stating the fact tha Ravel is a little more understanable than Debussy.
I'm not sure saying 'I'm conducting Ravel and I'm getting this sensual pleasure, which is one of the best things in life' is patronising. Basically saying it's one of the best emotions one can feel!
"To me, the only work by Debussy that can compete with Ravel is Pelléas et Mélisande, which I consider the greatest piece ever written. The rest of his output, in my opinion, is very uninteresting."
Ravel is my favorite composer! I like his harmony of impressionistic chords and clear forms. Debussy is also a great composer to me
Debussy is definitely my favorite composer. His music never ceases to amaze me.
Both CD and MR sound similar to me and I enjoy both
Thank you very much for sharing these precious information...
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Wonderful series! Thank you.
Gabriel Enrique Giron Thank you for watching!
Interesting comparison! Both composers have been life-long enchanters. If we only had three words to describe these musical phenomena, I'd call Ravel acerbic, Debussy intoxicant, both of them infinitely seductive. In high school (wow! 1968!) I watched cheerleaders practicing on the school stage. One played a record: the 3rd movement of La Mer, and they did unexpectedly sophisticated dance moves. Later, when my theater teacher assigned the class a "movement" exercise, I convinced my group to recreate that moment.
What is the magnificent piece of the final when he talks about conducting Ravel
La Valse... it's written in the credits.
My great-great-grandfather was a close confidant of Maurice Ravel, a friendship that blessed our family with stories passed down through generations. One such story, vividly preserved in our family’s lore, concerns the summer of 1905, a time when Ravel and Claude Debussy shared something profound-more than just a passion for music.
In that year, following the enthusiastic reception of Debussy’s Pelléas et Mélisande, he invited Ravel to spend the summer at his secluded cottage in the French countryside. The cottage was a picturesque haven, surrounded by lush forests and vibrant gardens, where the pressures of Parisian society seemed a distant echo.
From the onset, their days were filled with composing and deep discussions about the evolving world of music. But as the days lengthened into evenings, their conversations meandered from professional critiques to personal revelations. It was during these nights, my great-great-grandfather recounted, that their bond deepened beyond the platonic, fueled by a shared loneliness and understanding that only fellow artists could comprehend.
One night, under the infinite canvas of starlit skies, their dialogue took a turn towards the intimate. They had been discussing the emotive power of music, its ability to transcend mere notes and evoke deep, often unspoken feelings. The air was ripe with the scent of blooming lilacs, the only witness to their unfolding emotions.
“Claude,” Maurice began, his voice hesitant yet hopeful, “do you ever feel that our music is a mere shadow of what stirs within us? That perhaps, there are melodies in our hearts that we dare not play?”
Debussy, moved by the honesty in Maurice’s eyes, reached across the space between them, his hand brushing against Maurice’s. “Indeed, Maurice. And sometimes, I wonder if those melodies could be harmonized,” he replied, his tone soft but laden with meaning.
The touch lingered, evolving naturally into an embrace. As they drew closer, their initial kiss was tentative, a questioning of boundaries and acceptance. But as the night deepened, so did their connection. The kisses grew more assured, each one a mutual exploration of long-suppressed desires. Their hands, previously used to crafting symphonies, now explored the contours of each other’s forms, each touch a silent note in their private composition.
In the sanctity of Debussy’s cottage, they found solace and expression not just in music but in each other. The nights they spent together were filled with whispered confidences and laughter, the sharing of dreams and fears, the kind of sharing that weaves souls together.
As summer faded into autumn, the reality of their separate lives in Paris began to loom. Yet, the intimacy shared in that brief, secluded summer left a lasting imprint on both men. It influenced their compositions, each note imbued with the memory of that special closeness-a closeness that was profound yet destined to remain private due to the conventions of their time.
When it was time to part, their farewell was a poignant symphony of silent looks and soft touches, promises made without words. They continued their friendship, always with an undercurrent of the summer that changed them forever.
This story, cherished and whispered through generations of my family, offers a glimpse into the hidden depths of Ravel and Debussy’s relationship-a tale of love, creativity, and the silent melodies of the heart that, once played, resonate throughout lifetimes.
did I just read a fanfiction about my 2 favorite composers😭
ChatGPT?
@@lifeisdead01of course
Stupid fan fiction, of course 😂
@@boteanu.tudor6 it's literally chatgpt
Great! May I ask the name of the piece that starts around the 2:00-minute mark? Thanks in advance!
Thank you! If you enjoyed this video, feel free check out the full series www.philharmonia.co.uk/paris/
It's from the Daphnis et Chloé ballet by Ravel. I don't really know where there, but you should listen to the whole thing!
Danse suppliante de Chloe from Ravel's Daphnis et Chloe
Je n aime pas beaucoup Debussy , mais je reconnais qu il a été sacrement révolutionnaire : ôter tout aspect narratif a la musique était un sacré pari , et il l a réussi !
the way he feels about Debussy, I would say the same about Delius - and say that Delius took that musical aesthetic even a step further
Oh, nevermind! I can see now that it is shown in the credits!
debussy to me is the definition of genius, i don’t hear any other composers influence when i listen to him. he seems totally unique. imho.
There s influences... For example Chopin and Liszt and... Late Chopin or late Liszt is alike
@@kerencanelo8580no
Absolutely agree with Mr. Salonen here. Ravel is clear, academic. Debussy has a magic to him that cannot be traced. I know which I prefer, always.
why would anyone care who you prefer?
How is Ravel academic hahaha, he was expelled from the conservatoire and considered subversively modern. He was obsessed with perfection and form, that explains his admiration for Mozart (which is not academic either, is just pure genius, it's balance and mathematical perfection is just its startig point). The issue here is that Ravel is evluated mostly as a second hand Debussy, but he is just very different. Watch Yan Maresz's interview about orchestrating ravel for a fairer picture of Ravel.
I’m more than a little offended at his condescending attitude towards Ravel.
Don’t take it that way. This is a very short excerpt. He is speaking as an academic/practitioner and is bringing a level of scholarship to this that is uniquely his and that very few of us have. I’m sure he means no disrespect to Ravel; how could he? Why would he? He is simply trying to delve into the creative genius of each composer which is unique.
Same.
Don't be. Salonen likes Ravel very much, that's probably why he conducts him all the time. If you check him out there is always some Ravel in his programs. He is merely stating the fact tha Ravel is a little more understanable than Debussy.
@@6695John13 that's not how facts work though. It's his opinion which I find the opposite to be true. But, that is my opinion as well
I'm not sure saying 'I'm conducting Ravel and I'm getting this sensual pleasure, which is one of the best things in life' is patronising. Basically saying it's one of the best emotions one can feel!
"To me, the only work by Debussy that can compete with Ravel is Pelléas et Mélisande, which I consider the greatest piece ever written. The rest of his output, in my opinion, is very uninteresting."
I thought I was too uneducated to understand Debussy’s music and have to make more effort…
dera