A Ravel Reader: Correspondence, Articles, Interviews (Dover Books on Music) 0486430782, 9780486430782

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A Ravel Reader Correspondence, Articles, Interviews Compiled and Edited by

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was modified

as follows:

Bassoons

4.

At rehearsal number no.

5.

Corresponding

score, the four

to rehearsal

number

114. Ravel later changed his mind: in the

measures between rehearsal numbers 114 and 115 contain sixteenth

notes, but in the manuscript there are eight 6.

Corresponding

to the

measures of eighth notes.

measure before rehearsal number 115, which does not

exist

in Mussorgsky's piano piece. 7.

The

197. to

pedal point extending from rehearsal numbers

1

10 to 114.

Helene Jourdan-Morhange

Le Belvedere Montfort I'Amaury

Dear

(S.

&

May 9,

1922

again,

Mme

O.)

friend,

No

doubt you're astonished that

I

didn't answer you.

Once

Mauvemay is to blame. At first, she set the date for the concert in Lyon for May 4,

then the 7th. At the

me the exact date date

.

.

.

the 3rd!

train, arrive at

last

minute

— and only because

— she informed me I

just

had enough time

Lyon at 4:00

p.m.,

I

asked her to please

that the recital was put back to its to

pack

and leave there

my valise, at

tell

original

take the 8:00 a.m.

midnight, because the next

224

•

'

day

had

I

Madame I

Correspondence

•

to see Koussevitzky,

and Friday

had

I

to

be

at the charity auction

returned to Montfort only on Sunday, by auto. Your letter awaited

company of many

in the

sleeping. i)

said

others. Instead of replying,

that the first performance, according to

— IVe never been

my opinion,

told to

whom

—

also. I

these events

is

supposed to precede the other

Thursday

night, Aubert,^ to

whom I

and that the Sonata was requested again.

I

when

It

received the program for the i6th.

to ask

both of you to excuse

me

—

I

presumably

everyone knows

—

I I

have learned of

my

know which of

don't

had spoken about the

of

possibility

me that the issue had been raised,

having a 2nd performance of the Sonata, told

and

of yesterday

think that this revelation

one of you too much. Moreover,

departure for Africa and of my forthcoming marriage

I

all

what

And

was a "massacre."

even you, and no doubt MarechaP

didn't sadden either

2)

spent

I

me there,

And yet, I had to write to you about the Sonata for Violin and Cello.

seems

It

of

Clemenceau.

was going

to write to

only remains for

for letting myself be

you about

it

me to thank you,

governed by events.

I

am already so behind in completing the work I have undertaken, that I'm afraid I won't be able to be present at the new "massacre." If you don't see me Tuesday evening, don't attribute my absence to any other reason.^ come any day you wish except Thursday, when I'll probably be out for part of the day. You need only tell me beforehand, take the train at 9:00 a.m., and have lunch here, which will be much more convenient In order to

visit houses,'^

for you.

Cordial regards from your grateful victim,

Maurice Ravel 1.

The French

2.

See

3.

The Sonata was performed again at an S.M.I, recital on Tuesday evening, May

cellist

The program

Maurice Marechal.

note

letter no. 73,

3.

included the

first

16.

performance of Maurice Delage's piano piece,

Schumann, played by Henri Gil-Marchex, and works by Charles Koechlin, Jean Hure,

and Alexandre Tansman. 4.

Madame Jourdan-Morhange and

home

in

Les Mesnuls,

Luc-Albert Moreau

a village just two miles

later

bought a summer

away from Montfort TAmaury.

198. to Maurice Delage

May

Le Belvedere Montfort I'Amaury

(S.

&

19,

1922

O.)

Old chap.

The

other evening,

Schumann

—

it's

I

wasn't able to

a bit your fault,

tell

you everything that

you deserter.

First of all,

I like it

I

thought about

very much, and

..

Correspondence

that.

^

It

do

that's

:

22^

:

not the point. You can no longer write

like

would be too long to explain a host of things here which you must have

perceived as well as to

But

perfectly successful.

it's

:

so,

it

I.

String Quartet

However, you must get out of your impasse.

you

isn't, as

—which

think,

is

far

Do you want to work.-^ There Will you be joining the

go around Calvos^ and

Delighted

M. and

me: "I took the

to

my

from being perfect is still

managed

—

I

knew even

less

my

than you.^

time.

—

Casadesus,

Mme

Dreyfus would only have to

tell

of bringing our young lady friend, etc." In a few words,

can make you understand what would be impossible for pages. Understood.^

If I

natural talent. Before finishing

company next Monday there will be enough food to if Mme G. D. D. could come also. On account of the

Mme

liberty

due

me

I

to explain in 8

"*

Cordial regards,

Maurice Ravel 1

Delage's piano piece

is

a rather lengthy, virtuoso

work played without pause, which

mingles Schumannesque elements with more contemporary passages. 2.

An

excessively

modest statement. The

first

published by Gabriel Astruc in 1904. Six years

ceded

to

edition of the String Quartet was*

later, at

Ravel's request, the rights were

Durand, and a "new edition reviewed by the author" was published. Aside

from two minor corrections, both scores are 3.

Calvocoressi and his wife.

4.

Madame

identical.

G. D. D. was obviously a friend of Delage, and Ravel suggests that he

introduce her as

Madame

Dreyfus would have done in an analogous

situation.

199. tojeanjobert^

Le Belvedere Montfort I'Amaury

June (S.

8,

1922

& O.)

Sir,

Allow me

to defer

to orchestrate these like to

my reply for several days.

Although

it

would be

two pieces, and particularly the "Sarabande,"

I

a pleasure

would

first

have the authorization of Madame Claude Debussy. ^

Very truly yours,

Maurice Ravel 1

The French publisher Jean Jobert (1883- 1957) had written to Ravel, asking him to

orchestrate Debussy's Z)^i«5^ (1890), 2.

and "Sarabande" from Pour le piano (1901).

The authorization was granted promptly, and the

the winter of 1922. Paul Paray led the

March

18, 1923.

transcriptions

Lamoureux Orchestra in the

were completed

first

in

performance on

226

\

\

Correspondence

\

Madame Claude Debussy

200. to

Le Belvedere

June

&

Montfort TAmaury

(S.

Dear Madame and

friend,

Here It is

is

the letter that

certain that these

them

to

Nevertheless, I

I

received yesterday.

two pieces, and particularly the "Sarabande," are very it is

also certain that the publisher has the right to

Heaven only knows who! I

will

do nothing without your authorization.

sincerely regretted not having been able to see you the other evening.

Marguerite Long told

me

that

you were

downstairs, but you had already I

hope

that

1922

O.)

orchestral. Unfortunately,

entrust

8,

you

will

in the lobby of Salle

Gaveau,

I

When

rushed

left.

be in Paris toward the 25 th of this month, and that

have the pleasure of meeting you there.

I'll

I

will

be passing through on the way to

London, where the Aeolian company is supposed to record the precious wrong notes which

will assuredly

I

add

to

my works.

Dear Madame and friend, please believe in the respectful friendship of yours truly,

Maurice Ravel

201. to Roland-Manuel

Le Belvedere

June

Montfort TAmaury

Dear

(S.

&

9,

1922

O.)

friend,

Danm

it! I

Would you

don't have the address of Casadesus.*

tell

him

that

I

—

Recording session on the we would be arriving in London on the 29th.^ 30th—. And tell him to inform me immediately if these dates don't suit him. I also have to find a day when we can put the finishing touches on Gaspard de la said

nuit.

Furthermore, could you

tell

me

if a soldier's registration

and an expired

passport would suffice in order to go to an allied country.^

Thanks

in

advance

— and my apologies —

.

I

trust that this

won't coincide

with the arrival of the litde darling. ^ Affectionately to

you both,

Maurice RaveP 1.

See

2.

Claude Roland-Manuel, who was born on June

3.

The

letter no. 203,

note

autograph of this

(Paris: Editions

de

la

i.

letter is

reproduced

in

20, 1922.

Roland-Manuel, ^4

la gloire

Nouvelle Revue Critique, 1938), plate 24, following

p.

de Ravel

204.

I

.

Correspondence

:

:

22y

'.

202. to Marguerite Long^

Le Belvedere

June

Montfort I'Amaury

my

Pardon me,

&

(S.

dear friend, for not having replied immediately. Pardon

also for not being able to accept finish before leaving for

However,

I

Above and one

With

all,

will see

I

don't

insults

tell

your kind

London

be coming

will

Faure.^ Perhaps

1922

12,

O.)

—

at the

to Paris

invitation: there is a task that

end of the month

on Tuesday evening

I

me

must

— for the

homage

to

you there.

anyone that

I

wrote to you!

I

would receive a thousand

from neglected correspondents.

respectful friendship

from your

Maurice Ravel 1.

The eminent French pianist and pedagogue Marguerite Long (1874- 1966) wrote

three books of recollections, each entided Debussy,

and

She played the

Ravel.

first

G Major, which

Piano Concerto in

is

Au

piano avec [At the piano with]: Faure,

performance of L^ Tombeau de Couperin and the

dedicated to her. Following the premiere of the

Concerto, with Ravel conducting, on January 14, 1932, they undertook a triumphant

three-month

tour,

performing

it

in

some twenty

cities

throughout western and eastern

Europe. 2.

On June

20, an all-Faure

program was given

of the president of the French Republic.

Mesdames

The

at the

Sorbonne under the patronage

concert included songs performed by

Claire Croiza and Jeanne Raunay, the Ballade for piano and orchestra with

Alfred Cortot, and the Elegie with Pablo Casals as soloist. In a glowing review,

Prunieres paid

homage

to Faure's distinguished contributions

Henry

both as teacher and

composer, and called the evening an "apotheosis" ... for the "great musician, whose

works

will live like those

Gabriel Faure,"

of Berlioz, Gounod, or Debussy." (See

La Revue

musicale, July i, 1922, pp.

"Hommage

national a

71-72.)

203. to Robert Casadesus^ Tuesday [June 20, 1922]

Hotel d'Athenes^ 21 rue d'Athenes Paris 9

Dear

Sir,

Am

in Paris for 2 days. Today, at 1:30 p.m.. Conservatoire.

4:30 P.M.,

American Foundation.^ The

to take care of,

could don't

come know

I

Tomorrow,

at

have a host of errands

but will do so depending on the time that you can see me.

this at

rest of the time,

If you

afternoon at the end of the competition for composers

—

what time, we could make arrangements. This evening, I'm

having dinner at the

home of Madame Jourdan-Morhange, where you can call

228

:

:

me (WAG. meet

Correspondence

:

30.51),

Paris,

rU

wait for you

Your uncle

told

trip. If you

the

and then

Fll

be going to the Faure concert, where we can

in the foyer at the conclusion.

your message

me

that

you were going

are prevented will

— And

if it's

impossible for us to meet in

on Sunday. from doing

be transmitted to

to take care

of the arrangements for here

so, please call

(GUT.

0.28),

and

me."^

1. The celebrated pianist, pedagogue, and composer Robert Casadesus (1899- 1972) made his recital debut in 191 7 (see plate 6). In a career spanning some 55 years, he

performed over 3000

recitals

throughout Europe, North Africa, and North and South

America. In addition to composing over 60 works, he made many recordings, and those of the complete piano works of Ravel won the Grand Prix du Disque. His with Ravel marked the beginning of a warm friendship (see Orenstein,

trip to

London

"La Correspon-

dance de Maurice Ravel aux Casadesus"). 2.

When in Paris, Ravel frequently stayed at the Hotel d'Athenes, near the St.

train station, 3.

which was

just across the street

Lazare

from the apartment of the Godebskis.

Ravel served on the board of the American Conservatory of Fontainebleau, which

was cofounded

Now

1921 by Francis Casadesus (Robert's uncle) and Walter Damrosch.

in

in existence

more than half a

century,

it

remains a

vital, creative

program of

cultural exchange. 4.

This

is

a rare example of an unsigned

letter.

204. Jean Cocteau to Maurice Ravel Pramousquier

[August 29, 1922]^

par Lavandou (Var)

My dear Ravel, While

I

was

me that you had asked about me and were even me. After a long cure in the sun, my hand is now

infirm, Ida^ told

thinking of coming to see

strong enough to shake yours, and a city of misunderstandings. is

far

away from everyone

Your

I

wish to thank you for your interest. Paris

is

We should see each other precisely when everyone

else,

and when

it's

the heart which judges.

Jean Cocteau

No longer have your exact address.^ 1

This postmark appears on Cocteau's undated postcard.

2.

Godebska.

3.

Sent

to

Durand and

forwarded twice, finally

received

first

it.

to

Co., Place de la Madeleine, Paris, this card

Montfort TAmaury, and then

was subsequentiy

to Lyons-la-Foret,

where Ravel

?

Correspondence

:

:

22g

:

205. to Alfredo Casella

Le Frene

September

18,

1922

Lyons-la-Foret

Eure

Dear

friend,

have been working here, in a season which

I

is

generally referred to as

summer. Perhaps FU find the sun in Amsterdam towards the end of the month, ^ but

don't dare hope to take in

I

some of its

last rays in

Milan, where

undoubtedly meet soon. IVe had no further word from the vegno^ since

I

asked them to set the date for the

recital in

we will Con-

Istituto del

which

I

am supposed

to participate.

Fm going

There is one question to which I still haven't replied: that of the fee. to ask for your advice in this delicate matter.

I

wouldn't be

at a loss at all if it were

Chicago, but in defending Right and Justice, your country than mine. stay I

is

less

What do you think that I should request for all expenses

—

prosperous

—

travel

and

would be very grateful for your help in resolving this perplexing matter, and

that will also give

me

the pleasure of hearing from you.

See you soon, dear yours

friend,

and

affectionate regards to both of you^

from

truly,

Maurice Ravel 1.

In September 1922, Ravel participated in a festival of contemporary French music

held in Amsterdam. led by

A performance of La

accompanied Claire Croiza works by Debussy, brilliant

gram Italy 3.

in

Lili

of his songs.

in several

by the Concertgebouw Orchestra

Institute

Milan on November

of the Berceuse sur

le

The

in another recital. Ravel

entire festival,

which included

Boulanger, Faure, Roussel, Milhaud, and Schmitt, was a

success (see Ravel's interview, on

The Convegno

2.

Valse given

Willem Mengelberg was greeted with acclaim, and

and i,

nom

p.

423).

journal // Convegno sponsored an all-Ravel pro-

its

1922.

The program

featured the

first

performances in

de Gabriel Faure and the Sonata for Violin and Cello.

Casella remarried in July 1921; his second wife was a former student,

Yvonne

Miiller.

206. to Maurice

EmmanueP

Le Belvedere Montfort I'Amaury

Dear

October (S.

&

14,

1922

O.)

Sir,

Upon returning M. Bleuzet.2

to Montfort,

I

found your kind

letter as well as that

of

2J0

:

:

The

Correspondence

:

score that you will receive clearly indicates the composer's intentions,

and they are the only ones which should be taken graphic

poem"

is

written for the stage.

Vienna Opera, which

perform

will

needs to be illuminated by

it

into account.

This "choreo-

The premiere has been reserved

—when

footlights, as

it

can.

it

for the

believe that this

I

has elicited so

much

strange

work com-

mentary. While some discover an attempt at parody, indeed caricature, others categorically see a tragic allusion in

Vienna

situation in

This dance may seem

pushed

it

— the end of

the

Second Empire, the

after the war, etc.

to the extreme.

tragic, like

any other emotion

But one should only see

in

it

—voluptuousness,

joy

what the music expresses:

an ascending progression of sonority, to which the stage comes along to add light I

and movement.^

think that

which you

Durand must have

behalf explained better than

Dear

Sir,

sent you Roland-Manuel's brochure, in

information which

will find all the

me

please believe

M.

Bleuzet asked

me on

your

possibly could.

I

cordially yours,

Maurice Ravel 1.

The French composer Maurice Emmanuel (1862- 193 8) studied with Leo Delibes

at the Conservatoire, 1

910

and was appointed professor of music history there

until the last year

of his

life

du Conservatoire on a voluntary clarification with regard to 2.

He was

La

he wrote program notes

and

basis,

in this capacity

3.

the secretary of the Societe des Concerts

ity,"

In 1928, Ravel would

From

Concerts

he asked Ravel for some

Valse.

1828 by Frangois Antoine Habeneck, the Society

renamed the Orchestre de

in 1909.

for the Societe des

du Conservatoire. Founded

is still

in existence. In 1967,

it

in

was

Paris.

compose an even

stricter

"ascending progression of sonor-

the Bolero.

207. Gabriel Faure to Maurice Ravel October

15,

1922

your work, you willingly participated

in the

32 rue des Vignes [Paris 16]

Dear I

friend,

was very touched that despite

special issue of

jewel in

my

word and

La Revue

musicale,

I

am

which

will certainly

crown. Everything you brought to

in music;

it

touched

it

be the most beautiful

was cordial and

exquisite, in

me deeply and I thank you for it with all my heart.

Pm thinking of your growth, and

all

dear friend, since the faubourg Poissonniere, ^

happier than you can imagine about the solid position which you

Correspondence

occupy and which you have acquired so

brilliantly

and so

:

:

2ji

:

rapidly. It is a source

of joy and pride for your old professor. Believe

me

always very affectionately yours,

Gabriel Faure I

I.

trust that

your health

is

as

good

as possible.

During Ravel's student days, the Conservatoire was located

at 15

rue du faubourg

Poissonniere.

Henry Prunieres

208.

to

Maurice Ravel

La Revue musicale

October

16,

1922

3 rue de Grenelle Paris

VI

My dear friend, I

don't

know

if this letter will still find

extremely embarrassed to write this reply. raise the question

you

Montfort TAmaury.

at

Indeed,

it

I

am

was wrong of me not

to

of money at the outset, when asking for your collaboration for

the musical

homage

foresee any

payment

pieces based

^

to Faure.

Given the nature of

for the seven musicians

upon Faure's name;

I

this offering,

who were

I

did not

kind enough to write

had informed the

six others

from the

beginning, and they accepted with no objections. Several of them wrote articles in the

same

issue,

musical, as the

and

paid them for their literary collaboration, but not

I

enormous

cost of printing, plus the outlay for the copyright,

which I had to pay,

sufficed to absorb

earmarked for

musical supplement.

this

and even go beyond the funds which I had I

don't have to

was not an undertaking for La Revue musicale; were we expenses, that would be wonderful. a journal like I

trust,

avarice,

my

La Revue musicale,

as

you that

succeed

this issue

in paying

our

One doesn't become wealthy by pubHshing you can well imagine.

dear friend, that you won't hold

and please believe

to

tell

me

strictly

accountable for

my

me most cordially yours,

H. Prunieres I.

On September

17, Ravel

fee for the Berceuse sur le

himself, but

had vmtten to Prunieres requesting him to decide upon a

mm de Gabriel Faure.

would be given

to Nicolas

The

Obouhov.

fee,

Ravel explained, was not for

2^2

:

:

:

Correspondence

209. Richard Strauss to Maurice Ravel

December

Staatsoper*

7,

1922

Vienne Sir! 2

Dear

In reply to your letter of November 14,

1

inform you that we already hope to

perform your delightful Ma Mere TOye next January

But I do not believe

that

And for this reason, we

it

will

be possible

to

in the Salle

de

produce your waltzes^

la

Redoute.

this season.

cannot expect you to reserve for us the right to the

first

performance for such a long time.

On

the other hand, a fine success in the concert hall

would increase the

chances for a performance in the theater.

With the assurance of my high esteem. Yours

truly,

Richard Strauss'^ 1.

From

2.

This

letter

3.

That

is,

4.

19 1 9 to 1924, Strauss was the codirector of the Vienna State Opera.

La

was written

in French.

Valse.

In a letter excerpted in

La Revue

musicale

reiterated his high regard for Ravel's "mastery," litde

informed about the

details

on

first

Strauss

The

decade of the 20th century, when Strauss came to

several occasions to conduct his works. In his Fragments de journal,

Romain

home of Jean Mamold, which took place on May 22, The only other guest was Ravel, who expressed his view that Salome and Pelleas et

Rolland discusses a dinner 1907.

p. 287),

his regret at being too

of Ravel's music and career to write an homage.

composers met briefly during the Paris

(December 1938,

and expressed

at the

Melisande were the most striking works in European music written during the past fifteen years.

Later in the evening, Marnold, Ravel, and Rolland attended a perfor-

mance oi Pelleas et Melisande, where they were joined in their loge by Strauss. According to Rolland, Strauss listened attentively,

Cahiers

Romain

but

failed to grasp the

Rolland, 3, Richard Strauss et

Romain

essence of the music (see

Rolland, Paris: Editions Albin

Michel, i95i>PP- 157-65).

210. to Alfred Franqaix^

Le Belvedere Montfort TAmaury

January 10, 1923 (S.

&

O.)

Sir,

During the past

five

months,

I

have neither stopped traveling nor remained

8 consecutive days at home.

These continual

trips

have forced

me

to neglect

my

correspondence.

Correspondence

I

:

:

2jj

:

have reproached myself for a long while for not having replied to your kind

letter

and the package containing the very interesting manuscript of your son.

Among the

gifts

of this child,

I

note above

can possess, that of curiosity. From

now

all

the most fruitful that an artist

on, these precious gifts

must not be

the risk of letting this youthful sensibility wither. Technique

stifled, at

is

indispensable; but harmony, counterpoint, fugue, the principles of composi-

and the detailed

tion,

analysis of scores

can only be studied usefully when his

musicianship has already been developed. First of all, he must be allowed to assimilate the materials of

music

instinctively

.

To accomplish

study a polyphonic instrument, such as the piano risk

or

—which

will help

this,

he should

— the organ poses some

him to become intimately acquainted with all the classical

modem works which attract him. The grammar and rhetoric will come later.

Above

have him continue his academic studies: today, more than

all,

ever, a

musician should not only be a musician. .

.

.

And now, you

can advise your son to

summon up his courage in order to

pursue the "pleasurable" career upon which he has embarked. Very truly yours,

Maurice Ravel I.

For many years, Alfred Frangaix was the director of the National Conservatory of

Music and Dramatic Arts

Le Mans. As

in

his ten-year-old son

was

particularly inter-

ested in Ravel's music and in composition, he wrote to Ravel for advice, sending

one of Jean Frangaix's

him

earliest compositions.

211. tojeanjobert

Le Belvedere

February

Montfort I'Amaury

Dear

Sir,

By

the

same

&

(S.

mail,

you

package.

They gave me

enough.

On

8,

1923

O.)

will receive the corrected proofs in a registered

a lot of trouble.

It's

made me

the contrary, what

not that the engraver wasn't careful

lose the

most time were the indica-

tions a2^ solo, unison, divisi , etc. needlessly repeated

on each new page. This

who may suppose

that the solo or the a2

won't help the proofreader

at

all,

begins on that page, which can only complicate the printing of the parts.

A double error — mine first, and then the engraver's, will necessitate at least a partial resetting of page 23

^

(the

bassoon part was omitted, and the horns and

bassoons were put in the place of the trumpets and horns).

At no.

(I

no longer remember) a fortunate error by the engraver

of G"!) in the harp part, drew signature,

which should appear

my

(Gtt instead

attention to an incorrect change in key

later on, as

I

indicated.

2;^4

'

'

Correspondence

'

In the penultimate page (no. 42

added poco allargando ,^ which was I

believe that the

restored Debussy's indication

), I

1

certainly the composer's intention.

tempo indication at the beginning: J

the metronome, will be best after

= J and

J

=

1

44, which

I

set with

all.^

Very truly yours,

Maurice Ravel Corresponding

1.

to

page 23 of the Jobert orchestral score of Danse. All of the

references in this letter are to this transcription. 2.

The

3.

Debussy's piano piece

printed score indicates "Allargando." is

marked

"Allegretto." In his manuscript, Ravel wrote

120, which he then crossed out, replacing is

found in the printed score:

J-

=

formerly in the private collection of

R.

Koch Foundation

it

with

J

=

144.

The

final decision,

J

=

however,

132 (the manuscripts of "Sarabande" and Danse,

Mme D. Jobert-Georges, are now in the Frederick

Collection on deposit in the Pierpont

Morgan

Library).

212. to Helene Jourdan-Morhange

Le Belvedere

February 20, 1923

Montfort I'Amaury

Dear I

&

(S.

O.)

friend,

received a telegram from Bathori. For her FTR recital on

promised her

and the

to ask for

Berceuse, in

was planning

to ask

arrive so quickly

date

—

will finally

in person.

—perhaps

next Friday.^

Would you

more

is

serious

that

I

it's

participate in this

You

v^ll

Duhem do.

I

didn't think that

because of my birthday, which

I

March

is

5

I

would

so close to that

am leaving for Pau and St.-Jean-de-Luz

reply directly to Bathori, at 10 rue Oudinot.? What's

will ask

you

to find out if

number on

he would be willing to

littie festival.

no doubt receive an

at the Salle d'Athenes.^

new fTR

invitation to a

Don't be upset

if you

festival

given by Jean

have something else to

myself can't be there: I'm leaving on Friday, one half hour before the

concert. I've recital.^

attend I

I

don't have Marechal 's address, not even the I

had

be accompanied by the composer.

But then

I'm no longer sure just what to do:

rue Biot. Therefore,

5, I

your collaboration and that of Marechal for the Sonata

which you you

March

had no luck with these

festivals,

except for Henriette Faure's

The two upcoming festivals, on March 5 and 6, and with good reason ^

are the only ones

I

can

—

hope

it

will

be O.K. for Bathori's

apologies!

Cordially yours,

Maurice Ravel

recital.

Thanks

in advance,

and many

Correspondence

1.

2.

:

A recital in Pau was followed by a brief vacation in St.-Jean-de-Luz. On Friday evening, February 23, the pianist Jean Duhem performed

:

2^^

:

at the Salle

des Agriculteurs, on rue d'Athenes, which Ravel telescoped to "Salle d'Athenes." 3.

Following a number of coaching sessons with Ravel, the 19-year-old prodigy

Henriette Faure (1904- 1985), sister of the French statesman Edgar Faure, played the

complete piano works on January 12, 1923, apparentiy the 4.

first all -Ravel

At an S.M.I,

recital

at the

Champs-Elysees

piano recital ever given (see

on March

6,

Ravel performed

p.

This was

theater.

558).

Ma Mere VOye with

Robert

Casadesus, accompanied Madeleine Grey in a number of his songs, and conducted the Introduction et Allegro.

213. D. G. Kiriac and C. Brailoiu to Maurice Ravel Bucharest

February 20, 1923

My dear old friend, While rummaging through my old papers, I found some of your letters. I remembered Avenue Trudaine, our long nocturnal conversations at the Auberge du Clou and the Cafe de Clichy.

Paris,

A few years have passed since.

telling

my

friend Brailoiu

.

.Just in

several

beginnings: Pessard's class, your

seashore

(I

no longer

first

appearance with the your

recall the locality),^

first

little

orchestra at the

appearance as a composer

and conductor at the Colonne concerts,^ our Saturday meetings in

.

— my compatriot whom you met and who brought me back your regards times — about your

now, IVe been

at the

Molards

Montparnasse,^ the concerts of the Societe Nationale, then the kind pub-

lisher

Demets.

I

also

remembered the Basque country and Svdtzerland, which

you often spoke about. What beautiful memories the years of our youth leave behind, with their ideals and their gropmgs.

And now you

should rejoice, seeing yourself above the crowd. You are

present everywhere, remembered by cultivated people in Budapest as in Lon-

don, in Bucharest as in Vienna, in America as in Japan, perhaps. Here in

Romania, you are the idol of our musical youth. They appreciate you very much

and admire you.

As

for

me,

chiefly choral

ment

to

I

have spent

my time popularizing music for the common people,

and folk music.

both the poor and

which can sprout

I

have tried to provide simple but proper nourish-

rich.

Such

is

our native

soil; I

My dear friend, I'm still the same (at least I think so): and indulgent toward others. Deep down, tance to

life; I

have planted seeds

in our virgin soil.

I

a

good

fellow,

haven't attached too

modest

much impor-

consider our accomplishments like childrens' toys, which give

pleasure for the

moment.

I

have

now come

with white mustache and grey head.

It's

to the

most morose season of Hfe,

a pity that the Creator

is

so harsh to his

2j6

:

one

fine

too

much

He pushes him to hold on to many things down here, and

man

dear child,

day

.

.

crack! ...

.

he is banished, despite himself. But I shouldn't go on

with philosophy (an old habit), and Til pass the pen to

His youth

Brailoiu. I still

Correspondence

:

:

will certainly

make him

my

friend

write happier things.

preserve the fondest memories of you, and although very far away,

shake your hand in

A littie

warm

I

friendship.

note from you will give

me much pleasure.

All the best,

D. G. Kiriac

My address:

Professor at the Conservatory of Music, Bucharest, Romania.

Dear Monsieur

Ravel,

The letter which you have just read is the end result of many conversations. How many times my good teacher Kiriac and I have spoken of you! And how many times we have jointly agreed to vmte to you! In addition, my good teacher's arranging of his papers yesterday

come

friend Kiriac hasn't aged at didn't

know him

everyone,

still

was but a pretext whose time had

Don't believe everything that you have

(so to speak).

then.

I

all.

only

Perhaps

know

interested in things

—

at

that

just read.

Your

another time he had black hair ...

he

is still at

work,

in a word, he's very

still

young

I

devoted to

in spirit.

But on the other hand, you should believe what he wrote about you, of the admiration

we

rare that your

musicians is

have for your music, and your influence on many of us.

all

works aren't played

at a

It is

musical soiree, or at a gathering of

—whether sung or played (even on two

pianos)

— or

that your

name

And your more recent disciples are no less fervent than I am. when I spent 3 months in Paris, I sincerely regretted not being

not mentioned.

Last summer,

able to see you there.

performances of L^

whose I

You were away.

Valse,

orchestral sonority

I

had

to content

which we had often read through I

myself with two in Bucharest,

and

found amazing.

don't want to overburden

my good

teacher's letter with an overly long

postscript. Please believe that you are keenly

remembered here, and I would be

happy to see you again or to hear from you. In addition, believe

in

my complete

devotion.

Constantin

Same

Brailoiu"^

address: Professor at the Conservatoire, etc .^

1.

Granville; see letter no. 2, note

2.

A slip for the

Lamoureux

i.

concerts,

where Ravel conducttd Adelaide, ou

le

langage

desfleurs in April 191 2. 3.

M. and

Mme

Montpamasse

William Molard,

section of Paris.

who

entertained at 6 rue Vercingetorix in the

Molard was a student in Pessard's harmony class, and in

I

Correspondence

the spring of 1894, he invited several of his classmates to

home. The background

:

:

\

meet Edvard Grieg

237

at his

litde-known episode has been explained as follows:

of this

Grieg was in Paris that April for a performance of one of his works and evidence points to his being together with Delius quite often then. His visit to the Molards

must surely have been engineered by Delius,

their intimate

company discussed music, Ravel

the bright-eyed

quietly

mutual friend. While

went over

Molard's

to

piano and began to play one of the master's Norwegian Dances. Grieg listened with a smile, but then sharply:

began to show signs of impatience, suddenly getting up and saying

"No, young man, not like that at all.

Much more rhythm. It's a folk dance, a

peasant dance. You should see the peasants at home, with the fiddler stamping in time with the music. Play

it

And while

again!"

Ravel played the

litde

man jumped

up and skipped about the room, to the astonishment of the company. Perhaps it was on a rather

later occasion,

when Delius was

in the

company of Ravel and some

modem

other French musicians, that the question was raised as to what sources

French music was especially indebted. The French consensus view was that to

Rameau, Couperin and

Lully, etc., but Delius felt differently:

simply Grieg, plus the third act of Tristan. "

Modern French music

is

Ravel replied: "That

true.

is

We

it

To which

are always unjust to Grieg".

Florent Schmitt, incidentally,

is

on record

as saying that William Molard's

musical theories had had a considerable influence on both Ravel and himself. interesting

it

might prove to be

come

Hamlet, were one day to 4. Brailoiu

was

"Nonsense!

if

the manuscript of Molard's only

How

known work,

to light. (Lionel Carley, Delius, the Paris Years, p. 56.)

(1893-1958), an ethnomusicologist and composer, had studied in Paris

for two years just prior to

World War

I.

In 1929, he was awarded the French Legion of

Honor. 5.

Ravel's reply to this letter

is

below, no. 216.

214. to Charles Koechlin

Le Belvedere

February 21, 1923

Montfort I'Amaury

Dear

(S.

& O.)

friend,

You have upset me:

Tm wondering if I

didn't receive that circular,

didn't join that organization without examining

its statutes carefully.

and

I

if I

receive

so

many of those things. I would have to waste time justifying my refusal to join,

so

I

generally look over the information, join, and never

would be more yet,

my

serious.

from someone resignation,

else

and

quit the I.S.C.M.,^

Would you

—

try to find out

if I accepted.''

justify

it

this time.

which perhaps

is

leaning in the other direction, which

show

up.

from Prunieres

— or

There would always be time

Fm afraid that we'll also be

not so International after is

But here,

no

less stupid.

to

it

better

submit

obliged to

all. It's

simply

2^8

:

:

Correspondence

:

As soon as you have some information, please on, until

March

4,

here

is

my

let

me know. From next Friday

address: 41 rue Gambetta, St.-Jean-de-Luz

(Lower Pyrenees). Cordially yours,

Maurice Ravel Founded

I.

annual

in 1922, the International Society for

festivals,

American music. Despite Ravel's

criticism of the I.S.C.M.,

membership, and served as a member of the jury

215. to

Contemporary Music sponsored

which offered an important cross section of modern European and

M. D.

in

he did not resign

December 1928,

his

Geneva.

Calvocoressi

St.-Jean-de-Luz

Dear

in

February 27, 1923

friend.

Forgive

my very late

reply.

I

have been so busy during the past 2 months

the installation of central heating at Montfort, painting, touch-ups, coming and

going

—

that

I

took advantage of a concert in Pau to

come here

for a

week and

recuperate. It is

possible, later on, that

orchestration.^ For the

time,

will

will write if not a treatise, at least I

some notes on

have no ideas on the subject. In the mean-

keep the pubUsher's proposal in mind.^

trust that

I 1

I

I

moment,

we will meet soon in London. I'm supposed to

2th, returning

from

Italy.

arrive there

on the

My kind regards to Madame Calvocoressi, and very

cordially yours,

Maurice Ravel I.

One such

jotting has

been preserved (autograph

in the private collection of

Mme

Alexandre Taverne): "Nuances, accents, and slur marks can and must often be distinguished in an orchestral transcription.

— doesn't mean >"

(a stress

doesn't

mean an

accent).

p^fp In a conversation with this writer, Georges Auric recalled that about 1925, Ravel

asked him to act as his secretary for a small volume on orchestration. Unlike RimskyKorsakov's treatise, which pointed out model passages from his

ovm

works, Ravel was

going to present a series of examples wdth commentary, taken from his tions,

showing how not

This project came the

same time:

2.

to orchestrate

to nought, as did

a small

own composi-

by highlighting passages which were bungled!

another tantalizing one that Ravel contemplated at

volume explaining

his relationship with

Oxford University Press was the interested publisher.

Debussy.

Correspondence

2 1 6. to

:

:

2jg

:

Dumitru Kiriac March

Le Belvedere Montfort I'Amaury

1923

13,

& O.)

(S.

My dear friend, It

was a great joy to receive your letter, which arrived just as I was leaving St.-

Jean-de-Luz, where reply at once.

I

I

had spent a week. Because of

was going

over a week, doing nothing just doesn't

I

extent of my

Won't you be coming I'll

— and

it

fit

I

I

didn't

stayed there

of the blues which

been more than a year since

I

have

to Paris

supposed

sometime?

to

—

that's the

changes nothing.

go to Bucharest one day. ^ is

Paris; as usual,

get rid of a

young Englishman of 1830, I'm traveling

Romanticism

which Morin^

it's

departure,

have no reason to believe that the desire to resume work

will ever return. So, like a

Valse,

spend two days in

more than trying to

want to go away. In addition,

written anything, and

Perhaps

to

my

I

will

If so, let

me know

beforehand.

soon be represented there by La

conduct there

shortly.

Let's not stay out of touch for such a long time.

Would you please convey my very good wishes to Constantin Brailoiu and tell him that I intend to write to him one of these days.^ See you soon, and warmest regards from your

Maurice Ravel 1.

Ravel visited Bucharest in 1932, during his tour with Marguerite Long.

2.

Probably referring to the French conductor Henri Morin. In addition to touring

widely, he studied conducting with Arthur Nikisch

and composition with Vincent

d'Indy.

217. Ravel, Roussel, Caplet, and Roland -Manuel to the Editor

o(Le

Courrier musical [c.

The

musicians

who have

efforts since last year,

in

Le

Courrier musical

March

1923]

sympathetically followed Monsieur Jean Wiener's

were painfully taken aback by an

on January

i,

article

which they read

1923, written by Monsieur Louis Vuille-

min.2

The undersigned have

neither the right nor the desire to interfere in a

personal dispute between Messieurs Vuillemin and Wiener. However, by declaring that certain persons expressed their approbation to him,

Monsieur

Louis Vuillemin places several of his friends in the position of having to publicly in turn that they in called

no way agree vdth

his position

state

concerning the so-

"ahen concerts."

Monsieur Vuillemin's independence and

impartiality are so well

known

to

240

:

:

Correspondence

:

them, that they are convinced that the eminent

good

critic's

faith

was taken

aback under the circumstances. In any event, they affirm their deUght in having

been able

to hear

Arnold Schoenberg's Pierrot lunaire, thanks

to

Monsieur Jean

Wiener, as well as a series of new works, French and foreign, whose tendencies are

open

to discussion, but

whose

interest

is

certainly not.^

They would like to take this occasion to express the hope that patriotism err a bit less in

an area where

it

has nothing to gain, but everything to

lose.'*

Maurice Ravel, Albert Roussel,

Andre Caplet, Roland-Manuel. 1.

This letterwas printed in L^CoMrrj>rwM5^W, 25 (April

i,

1923), p. 123, with a reply

by Louis Vuillemin. 2.

In this

article,

entided "Alien Concerts," without naming anyone specifically,

Vuillemin noted in vehement terms that such concerts were taking place in Paris, organized by "musical Dadaists," fools."

who were supported in their "intrigues" by "cosmopolitan

His comments revealed the same kind of jingoism and xenophobia which Ravel

had decried

in his letter to the National

League

for the

Defense of French Music.

Wiener (1896-1982) performed over 2000 piano recitals of jazz, classical and popular music with his colleague Clement Doucet, and was active as a composer and 3. Jean

impresario.

He

referred to his "Concerts Jean

Wiener"

attempt to mix the most disparate elements.

The

as salads

—

that

first recital, in

is,

a deliberate

December 1921,

featured works by Milhaud and Stravinsky, which were preceded by Billy Arnold's jazz group. Following the recital. Ravel went backstage and congratulated Wiener warmly. 4. Vuillemin's inept reply

contained an attack on Pierrot

lunaire,

with an acknowledg-

ment of the importance of Austro- German music through Wagner.

218. to Helene Jourdan-Morhange 14 Holland Park

April 16, 1923

London, W.ii^

Dear

friend.

My spare time in London enables me to send you even more cards, especially today,

when I'm supposed to have lunch at the embassy at

able to sleep last night

— 10 hours —

Ma Mere VOye and La According one. in

I

Valse

much.^

was beginning

to

130 p.m.

miss

went very well the day before

to the newspapers,

didn't expect as

I

1

.

.

I .

am,

if

I

was finally

it.

yesterday.

not a great conductor, at least a good

The weather is unpleasant, no more

so than

Rome.

Of course, it's And Madame

still

O.K. for

May

8.

Alvar thanks you for your regards, and sends you hers in

return.

Cordial regards from your

Maurice RaveP

Correspondence

:

:

:

241

his visits to London in the 1920s and 1930s, Ravel often stayed at the home of Mr. and Mrs. Charles Copeley Harding. Mrs. Harding, a soprano, whose professional name wsls Louise Alvar, was bom in Sweden and died in London in

During

1.

elegant

1966

age of 82. She concertized with Ravel in Scandinavia in 1926 (see plate

at the

In their salon Ravel would meet

many

outstanding

2).

among them Hugo von many English musicians.

artists,

Hofmannsthal, Joseph Conrad, and Paul Valery, as well as

This comment may have been based upon an unsigned review which appeared

2.

in

The Times on April 16:

M. Maurice

Ravel was most cordially received, as was natural. Since the death of

Debussy he has represented

modern French music. conductor.

.

.

to English musicians the

His baton

were charmed into to play,

The

it,

most vigorous current

not the magician's

is

He just stood there beating time

into the right place.

member

.

wand of the

in

virtuoso

and keeping watch, getting everything

orchestra did their very best for him, not because they

but because he showed them so clearly what he wanted each

when, and how.

Ma Mere VOye has never sounded so simple and

La

childlike; the introduction to

Valse,

with

its flitting

scraps of waltz rhythm on

bassoons and deep-toned instruments, had an unusual

clarity,

and both pieces

were inmiensely enjoyed.

The remainder

of the program at Queen's Hall, conducted by Sir Henry Wood,

consisted of Schubert's

Concerto No.

The

3.

4,

Symphony

in

C

Major

(the Great)

with one Mr. Pouishnoff as soloist (see

autograph of

this letter is

reproduced

in

and Saint-Saens' Piano

p. 596).

RoUo H. Myers, Ravel (London:

G. Duckworth, i960), pp. 64-65.

219. to Desire Defauw^ 14 Holland Park

April 17, 1923

London, W.ii

Dear

Sir,

The

enclosed envelope will explain to you

to reach I

how your kind

letter

took 10 days

me.

imagine that you didn't wait for my reply in order to arrange your program, ^

But anyway, i)

already 2)

let

me recommend

The Sonata

for Violin

worked on

to you:

and Cello,

this piece,

of course, you have

if,

my most recent work, which

is

artists

very

who have

difficult.

Either the String Quartet or the Trio (piano, violin, cello), without the

participation of the author,

who would be

absolutely incapable of playing the

piano part. 3)

With a singer whom I would accompany, and

would perform very I

badly,

it

seems

to

me

several piano pieces

which

the program would be complete.^

expect to be in Brussels towards the 24th.

I

242

:

:

Correspondence

:

Until then,

I

will

remain in London, where you can write to

me if you need

further information.

Very truly yours,

Maurice Ravel 1.

The

2.

Defauw was

Belgian

violinist,

conductor, and impresario (1885-1960).

organizing a recital of Ravel's chamber music, which took place in

Brussels at the Theatre du Marais on April 26, 1923.

The program included the String Quartet (performed by Desire Defauw and MM.

3.

Waersegers, Miry, and Doelsaerd), Sheherazade (sung by Ravel),

M.

and the Introduaion

Borlee, flute,

M. Adam,

performed

addition. Ravel

et Allegro

his

clarinet,

and the above mentioned

string quartet). In

"La

Vallee des cloches"

Pavanepour une Infante

"Menuet" from Le Tombeau de

(Miroirs), the

Mme Delacre accompanied by

conducted by the composer (Miss G. Mason, harp,

defunte,

Couperin,

and the Sonatine. Despite

Ravel's self-deprecating remark, the critic of L'Independance favorably impressed by his performance: "His playing

is

beige,

exactly as

Ernest Closson, was

we would imagine

precise, discreet, very refined, of extraordinary distinction, at times bordering preciosity.

The

delighted audience applauded the performers, but gave a genuine

ovation to the composer,

were

ironic,

whose slender appearance and smiling

also wonderfully evocative of his refined art"

M. Maurice

it,

on

Ravel au Marais," L'Independance

beige,

perhaps a

affability,

bit

("Chronique musicale

April 28, 1923, article signed

"E. C").

220. Rudolph Daniel Mayer

Mayer

Company

to

Maurice Ravel June

Ltd.

12,

1923

Grafton House, Golden Square Piccadilly,

London, W.I

My dear Mr. I

Ravel, ^

have not had the pleasure of seeing you now for two years, since

Paris.

that

I

America to conduct the big orchestras your

I

met you in

The reason for my writing to you is that I think there is a good possibility may be able to secure you a first class engagement as guest conductor in

earliest

would

suit

subject to

convenience

I

shall

be glad to hear from you

my

commission). If you would reply by return in a position to let

regards,

Yours sincerely,

DANIEL MAYER COMPANY, LTD. Rudolph Mayer

at

proposition would interest you, the period that

you best and what your terms would be (your terms of course,

work and would soon be

Kind

if this

there. ^

I

shall at

you know something

to

be

once get to

definite.

^

Correspondence

was written

:

:

24^

:

1.

This

2.

This proposal was one of several which Ravel had received in 1923. In a reply to

letter

E. Robert Schmitz, written

You will excuse me

in English.

on March

for hesitating:

14,

I still

he noted:

haven't despaired of resuming work, and no

matter how flattering the success might be, or 4 months. fee],

and

I

it

doesn't

I

promise

to give

Ravel

finally

turned

solely for this purpose.

down

all

of the proposals. His only concert tour in North America

in 1928.

Edouard Mignan

2 2 1 to .

me

definitive reply.

you one very soon. At the beginning of next week, I'm going to

spend 2 days in Paris

would take place

[the

But from this point of view, you can't blame

certainly agree with you.

comparing the advantages before giving you a

for

seem to me worth the loss of 3

You won't fail to draw my attention to another aspect of the matter

^

Le Belvedere

June 20, 1923

Montfort TAmaury

&

(S.

O.)

My dear colleague, Please find enclosed the copyright declaration, ^ and pardon the incongruities I

of my pen, which

I

remedied as best

I

could.

thank you sincerely for the copy of your Rapsodie, which

which

I

found very charming, as

much

as

I

did receive, and

I

could judge from an uncertain

reading.^ I

may

tell

you that

I

also discovered a paradoxical

element in

it,

in the

way

your numerous whole-tone scales accompany the theme, written by the one

contemporary composer

who

has never used the whole-tone scale.

Please don't see any bitterness in this observation, which, find as

amusing

as

I

do, and,

my

dear colleague, believe in

I

my

think,

you

will

sincere artistic

sympathy.

Maurice Ravel 1.

Mignan (1884- 1969),

^ French

vatoire vrith Paul Vidal (composition)

composed

composer and

organist, studied at the

and Charles-Marie Widor

a Rapsodie for chromatic harp based

Ravel's Sonatine. Published in Paris by Evette

Conser-

(organ). In 1923,

he

on the opening theme of the minuet from and Schaeffer, the piece was intended

for

the Conservatoire's annual harp competition. 2.

As the composer of the Sonatine, Ravel had

to sign the copyright declaration

together with Mignan. 3.

Ravel was suffering from a painful foot inflammation.

4.

A

slight exaggeration: after his youthful infatuation

with the whole-tone scale

the overture to Sheherazade and Si mome!), Ravel hardly ever used

it

again.

(in

244

'

222. to

Correspondence

'

'

Manuel de

Falla

Le Belvedere

June 26, 1923

Montfort TAmaury

(S.

& O.)

Dear FaUa,

As I wrote to Princess de

Polignac,

work last night, although I hoped ^

to

was truly impossible

it

do so until the

last

excuse me, and that you won't leave without seeing me.

will

able to

budge from here

until Saturday.

for

me to hear your

minute.

Won't you be able

I

to

I

trust that

you

certainly won't be

come one of these

days and partake of a luncheon which won't even be frugal because of the poor season.-^

car

is

I'm inviting the princess to come with you. If she

being repaired, you need only take the 9:13 train

is

unable, and

if your

at the Invalides station

(check the timetable), and at Montfort I'Amaury the bus will bring you into

town. So

I'll

see you very soon, won't

I?

and very

affectionately yours,

Maurice RaveP marionette play El Retablo deMaese Pedro (Master Peter's Puppet Theater)

1. Falla's

was commissioned by Princess Edmond de Polignac, and the conducted by Vladimir Golschmann, was given 2.

In a brief note dated July

meal

also have a frugal

i

,

staged performance,

1923, Falla expressed his regret at not being able to visit

hoped

Ravel, and observed that he

first

her salon on June 25.

at

to see

him

soon, "here or in

Granada where ,

my very affectionate

to offer you, together with

I

will

friendship."

223. to Igor Stravinsky

Le Belvedere

June 26, 1923

Montfort I'Amaury

Dear

&

O.)

Igor,

Your Noces it

(S.

— more

evening:

is

so beautiful!

often!

my

Thanks

I

regret not having heard

But it was apparendy very unwise of me

foot swelled

again, until next

And how

Sunday

up considerably and at least.

I

had

to have

it

— and seen

gone the other

to return to rest

it

once

^

old chap, and very cordially yours,

Maurice Ravel I.

In another letter written on June 26, Ravel explained to Roland-Manuel as follows:

"I heard Les Noces last Thursday, foot.

You were

right:

it is

piece to date, and the production

must thank you: were

it

doped up by Desjardins, who shot cocaine

a splendid work. is

also

I

even believe that

it's

into

my

Stravinsky's master-

one of the masterpieces of the Russian season.

not for your insistence,

I

would have missed

this great joy."

I

Correspondence

:

:

24^

:

224. Igor Stravinsky to Maurice Ravel "Les Rochers"

July 14, 1923

Biarritz

My dear Ravel, I

was very touched by your kind

Noces

when

.

.

it

.

pleased you so much.

was played so

and write

and

Fm

also delighted that

How goes it with your foot?

well.

more

(in general) a bit

letter,

Too bad you didn't also hear it in the

my

early days,

Please keep in touch,

often to your old friend

Igor Stravinsky

225. to Piero Coppola^

Le Belvedere

August

Montfort I'Amaury

Dear I

Sir

and

&

(S.

4,

1923

O.)

friend,

was very touched by your kind gesture

me; they indeed pleased thanking you in person,

me

if,

as

in dedicating

very much.^ Perhaps

I will

one of your songs

to

have the pleasure of

Fm planning, I go to Paris on Monday or Tuesday.

After a year and a half of inactivity,

I

was going

to

resume work, but was

prevented from doing so by a stupid accident: two fingers were crushed by the legs of a chaise longue, almost 3

only today: the skin

numb,

finally

is

weeks ago. The doctor was able

improving on the

left

to reassure

hand, and the middle finger,

me still

appears to be on the road to recovery.

While awaiting the pleasure of seeing you, in October, please believe

if not in Paris, at least

m London

me most cordially yours,

Maurice Ravel 1.

The

Italian

conductor and composer

1920s and 1930s (see 2.

p.

(i 888-1 971)

was

active in Paris during the

552).

Coppola's Dix Poemes arabes for voice and piano were based on the "Jardin des

caresses" by Franz Toussaint.

They were published in two collections of five songs each, Henry Prunieres. These brief songs occasionally

dedicated respectively to Ravel and

evoke the oriental sensuousness found in Ravel's Sheherazade.

226. to Jacques Durand^ September

Saint-Jean-de-Luz Sonia Pavlov, of the Opera-Comique, has asked based on a scenario by Henry Malherbe,^ and,

if I

me to write

8,

1923

a ballet for her,

don't have the time, which

is

the case, to try to adapt several of my>Spanish works to this libretto (the subject

::

246

is

Correspondence

:

inspired by the Pavanepour une Infante defunte).

I

think

with ten measures of composing at most, to do this

which would combine the Pavane, the "Alborada Rapsodie espagnole.

Of course,

this

1

The

formulas.

finish,

Durand and

sixty letters

it.

from Ravel

to

this

3. 4.

The manuscript of this work was

critic

to

medley or stew,

literally, in

where

I

consulted them in 1966.

The

1670.

[The

They

letter no. 172,

note

2).

Spanish, a rotten pot.

virtually

unknown

until 1977,

surfaced in Paris and was purchased by a private collector. Portrait deVInfante

opening and concluding

be recovered.

of L^ Temps (see

Probably the music

Meaning

CastiHan mosaic.'^

Jacques Durand were in the archives of

Co., 4 Place de la Madeleine, Paris,

2.

I

await your authorization in

I

which won't take long)

were subsequentiy misplaced, and have yet

a

and the

oUa podrida would not be published, and

text of this letter is virtually complete, save for the

Some

job a la Diaghilev,

[del gracioso],"

^

don't think you would find any objection to

order to begin (and to

have found the way,

I

little

Portrait of the Infanta]

The

and the scenario

when

it

briefly

ballet is entitled

is

set in

Le

Madrid about

score of 25 pages includes 11 pages for piano solo in Ravel's hand, the

remainder being excerpts from the printed scores of the three pieces mentioned by Ravel. This ballet

was apparendy never performed.

227. to Marcelle Gerar^

Le Belvedere

November

Montfort I'Amaury

&

(S.

Madame, From what Roland -Manuel and many remarkable

years,

talent, please believe

on December

recital

I

With

6,^

25, 1923

O.)

it is

others have told

with great regret that

But having been unable

to

I

me

about your

cannot attend your

compose anything

for

two

have resolved not to leave Montfort the entire winter. sincere thanks,

and many apologies, believe me, Madame, very

truly

yours,

Maurice Ravel 1.

The French

lyric

soprano Marcelle Gerar

(i

891 -1970, her professional name

being a partial anagram of her true name, Regerau) was for many years a professor of voice and vocal pedagogy at the Ecole 1

92 1, and devoted herself

Normale de

to the interpretation

Paris.

She made her debut in

Paris in

of contemporary French song. In the

1920s, she toured with Ravel in England, Spain, and throughout France. In addition to Ravel,

many composers

Jacques 2.

Ibert,

In addition to

other

artists,

delle String

dedicated their vocal works to her,

among them Honegger,

Milhaud, Roussel, and Schmitt.

Madame

Gerar, this all-Ravel program was performed by several

among them Jane Bathori, the pianist Henri Gil-Marchex, and the VanQuartet. Commentary on the music was provided by Roland-Manuel.

Correspondence

:

:

24J

13,

1923

:

228. to Georges Jean- Aubry Montfort TAmaury

December

My dear friend, Immersed

London

at the

you

If

wrote

in Paris so rarely that

convey

La

opinion about Safonov's

apologies to Monsieur

fingers

Would

don't have

if I

become

be possible

very carefully, and

Try

The

my

Le Boeufsur to look into

next

Would you have a

little

in

W. A. Chevery, who

FU be

I

think

it

merits

able to examine

let

my I

it.

Now that

it.

What an

well.

copy o^Les Noces?

Many other things too:

I

nor Poulenc's Promenades,^ nor other works

le toit,"^

interesting, but

I

don't

know

if

they have been pub-

it.

score of Carrosse has been at the Opera- Comique for

During

you are

a great virtuoso thanks to this method! Unfortunately,

to receive a

which are undoubtedly lished.

if

Nouvelle formule.^ Since receiving this work, it

do not respond very

it

know

very busy time for me),^ asking

(a

working, even practicing the piano,

achievement

my

my

end of October

a letter at the

haven't had the time to study

Fm

don't

I

moment.

are, please

me

Fm

in work, ^

visit to Paris, I'll

some

time.^

pass by there and ask what they think of it.

me know if Madame Alvar will be in London towards Xmas? I

thing to give her and don't want

You'll reply soon, won't you.^

and very

it

to get lost.

cordially yours,

Maurice Ravel 1.

In January 1924, Ravel completed an orchestral version of the Hebraic folk song

"Mejerke mein Suhn," which had been 2.

During

this

set in 19 10,

month Ravel concertized

in

and the song Ronsard a son dme.

Amsterdam and London, thus

letting his

mail accumulate. 3. Vasily

I.

Safonov (1852-1918), the Russian conductor,

ied with Leschetizky, bin.

and among

his pupils

pianist,

and teacher, stud-

were Josef Lhevinne and Alexander Scria-

His piano method, Navaya formula (Moscow, 19 16), appeared in English asy4

New

Formula for the Piano Teacher and Piano Student (London, 1916). 4.

Darius Milhaud's

5.

A suite

6.

Le

ballet,

based on the scenario by Jean Cocteau.

often short piano pieces composed

in

192 1 and published in 1923.

Carrosse du Saint-Sacrement, a one-act opera by

comedy by Prosper Merimee.

It

was introduced

at the

Lord Berners, based on the

Champs-Elysees theater in 1924.

248

:

:

229. to

Correspondence

:

Manuel de

Falla

Le Belvedere

January 11, 1924

Montfort TAmaury

My dear friend, should have written to you long before receiving your good wishes. But

I

I

some news from Barcelona's Association of Chamber Music with whom I have been negotiating for several weeks regarding a concert whose was waiting

for

,

date was originally set for February 24, but which

few days.

have just received a telegram informing

I

been postponed I

wanted

I

until

me

that the concert has

February 27.

would be very happy

if you

could arrange something in Madrid about that

time, as close as possible to that date, because even if Spain

wish to know most keenly, and particularly the the

moment,

I

owe

it

to postpone for a

no

gratitude),

I

city to

is

which

prefer to wait for a

I

the country that

owe

more

so

much^

I

(at

favorable time to

remain there.

From February

Fm traveling:

15 on,

accepted the Barcelona date because rest. I

was thinking of

beginning of February.

I

sponds

can do to

is

my

in the period

to set to

etc. I

had

immediately

set aside for a

sonata for violin and piano toward the

have just abandoned a

I

it.

The above

most wonderful resumption of the

parenthesis will blues.

The

only

music an epitaph by Ronsard, which rather corre-

my state of mind. Prunieres will be delighted, however, because I had

only given

him

slight

promised London the I

I

main reason:

explain the

thing

finishing

London, Brussels,

it fell

hope of collaborating on first

his

Ronsard issue. ^ But

I

had

performance of my sonata!

impatiendy await your news,

my

dear friend, and send you

my most

affectionate thoughts.

Maurice Ravel

And

also

my best wishes, no

less affectionate,

even though

late.

im met her future husband

1.

Ravel's mother spent her youth in Madrid, and

2.

This issue of La Revue musicale (May 1924) commemorated the four-hundredth

anniversary of the poet's birth.

The

other composers participating in the

there.

homage

to

Ronsard were Louis Aubert, Andre Caplet, Maurice Delage, Paul Dukas, Arthur Honegger, Roland-Manuel, and Albert Roussel.

.

Correspondence

:

:

:

24g

230. to Robert Casadesus

Le Belvedere

January 24, 1924

Montfort I'Amaury

(S.

&

O.)

My dear friend, Pardon

me

in

advance for die confusion of diis

and Brussels are joining forces to drive

On December lian,^

28, in reference to

which, fortunately!

me

letter:

Barcelona, London,

crazy.

abandoning an arrangement with Aeo-

hadn't spoken to you about, Mr. R. Mayer^

I still

wrote to me: "To what extent will this have an influence on the appearance of

M.

who

Casadesus,

supposed

is

does not come would you ,

I

like

perform here on February ib} In case he

to

me

to

engage

replied affirmatively, and, a few days later,

engaged Marchex,

M. Gil-Marchex?"^ Mayer having written that he had

therefore concluded that you couldn't go to London,

I

which didn't surprise me, since you had said some time before that you expected to be in Spain about that time, and

it

participate in a concert of my works in Barcelona

was agreed

on the 24th,

that

you would

at the

end of your

tour.

Wait; that's not

Barcelona that day, I

all: I

I

asked for a later date,

trio.'*

wasn't thrilled about the 24th. In order to be in

would have

to

if possible.

go there

They

directly

from Brussels. Therefore,

replied that

it

would depend on your

January 11, a telegram: they proposed February 27, which

I

accepted.

Today, another telegram: "Impossible to have Casadesus trio" and a proposition for another trio

Meanwhile, (and with me, finally

and other dates on which

in Brussels, alas!) in

will

not be free.

Defauw^ was corresponding with Mile Sanderson^

order to juggle the dates of the concerts in Belgium, and

postpone the one with

abandoned

I

my

Sonata^ until

for the time being following a

fit

later,

because

it

has been

of the blues which innumerable

distractions have failed to dissipate.

And on my advice, Mayer has 26,

acted similarly, postponing the recital to April

and has informed Ritter-Ciampi,^ Jelly d'Aranyi,^ and Gil-Marchex, who

cannot be abandoned now, of course. I

trust that

you

will explain

some of the mysteries of London and Barcelona I made up plans

on January 30. The day before yesterday, Roland-Manuel and to

go to the concert of Marcelle Gerar after hearing your Sonata.

change you described Till

vidll

^^ facilitate this considerably.

Wednesday, then, and very cordially yours,

Maurice Ravel 1

2. 3.

Apparently a recording session.

The English impresario Rudolph Mayer. The French pianist Henri Gil-Marchex (1894-1970;

see p. 564).

The program

2^0

4.

:

:

Correspondence

:

The Casadesus trio, consisting of Robert, his uncle Marius Casadesus (vioHn), and

Maurice Marechal

(cello).

5.

Desire Defauw (see

6.

The soprano Germaine Sanderson.

letter no.

219, note

i).

The Sonata for Violin and Piano, begun in 1923 and finally completed in 1927. The French soprano Gabrielle Ritter-Ciampi. She was replaced by Marcelle Gerar, who thus sang the premiere of Ronsard a son dme accompanied by Ravel at the 7. 8.

London 9.

on April

recital

26.

Tzigane was dedicated to the brilliant Hungarian violinist Jelly d'Aranyi (1895-

1966), 10.

who

London accompanied by Henri Gil-Marchex.

gave the premiere in

On Wednesday evening, January 30,

the opening

work

at

an S.M.L

recital,

Casadesus, and then he went to a

1924, Ravel attended two concerts: he heard

the Sonata for Cello and Piano by Robert

recital given

by Marcelle Gerar,

who performed

several of his songs.

231. to Marcelle Gerar

Le Belvedere

February

Montfort I'Amaury

(S.

7,

1924

& O.)

Dear Madame,

Did Roland-Manuel

He was

forget the errand.''^

the manuscript of the song;^ (2) to ask you

if it

entrusted: (i) to send you

were possible

my publisher on Saturday, between 3:00 and 4:30 p.m.

to

perform

at the latest,

it

for

because he

leaves the office at 5:00 p.m. If you

still

haven't written to me, don't:

mail arrives. But

noon until 1:30

I

p.m.

I

will

have

left

Montfort before the

me at Jacques Durand's home from (Segur 73-54), or send me a special delivery letter there (5

will ask

you either to

Avenue SuUy-Prudhomme,

call

Paris VII),

and

if

manuscript dropped off at the store on Place de

you cannot come, have the la

Madeleine, as

I

don't have

another copy of it. Obviously, the song will be less effective

if performed

by the composer

...

I

my publisher's imagination will make up for the deficiencies. With my sincere apologies for so much bother, dear Madame, please believe in my keen artistic sympathy. trust that

Maurice Ravel 1.

Roland-Manuel had

letter to 2.

faithfully transmitted Ravel's

her written on February

Ronsard a son dme.

5.

message

to

Mme

Gerar

in a

Correspondence

:

\

\

2§i

232. to Cipa Godebski

Le Belvedere

February 14, 1924

Montfort TAmaury

(S.

& O.)

Old chap, I

received a card and

some good news from Mimie. But

brain forgot to include her address. Please send

it

to

that

young

scatter-

me.

The blues have been relatively quiet for a few days; but the Sonata still hasn't By Jove! Til get it despite everything! may go to Paris on Monday. If so, we'll see each other in the

progressed. I

evening, at the

Roland-Manuels. Enclosed are the musician,

program

tickets for Janine Weill's concert.

who performs my

is

Sonatine as

would

I

She

like to play

it.

is

a delightful

Moreover, the

very intelligently arranged. ^

See you perhaps on Monday. Affectionately

to

all,

Maurice Ravel I.

On Friday evening,

program of classical and

chamber music. The

Madame Janine Weill (1903-1983) modem works, performing both as soloist and as February 22,

latter

presented a a partner in

included Mozart's Quintet for piano, oboe, clarinet, horn,

and bassoon (K. 452), Milhaud's Sonatine for

flute

and piano (opus

76),

and Joseph

Jongen's Rapsodie for piano and wind quintet (opus 70). In addition, several Schubert

Impromptus were performed, and Ravel's Sonatine, Jeux

d'eau,

and "Alborada del

gracioso."

233. to

Mimie Godebska

Le Belvedere

February 28, 1924

Montfort I'Amaury

(S.

&

O.)

Dear Mimie,

As soon

as

I

received your

letter, I

wrote to your father in order to get your

my day, you know, there weren't "sumpOf course, I wanted to answer you immediately. But I which the blues had made me abandon. As it wasn't

address, which you didn't mention (in

tuous hotels" in Megeve).

my

had resumed progressing, for the April

I

Sonata,

took a well-known measure:

26 concert.

I

wrote to London not to count on

Now it's Mr. Mayer who won't be

it

able to sleep.

You could have

just as well convalesced at Le Belvedere: I'm blockaded by know how I'll be able to return to my room shortly.^ The heating doesn't seem to be working. Not now! I'm thinking of going to

snow, and don't central

Paris the day after tomorrow, I

no doubt by

know that you're feeling better.

In that

sled.

air, it's

inevitable.

Are you toboggan-

2^2

ing?

:

:

It's

Correspondence

:

really delightful, especially when

snow. Skiing

is idiotic: I

Embrace Esther and Lydia Blanc,"

young

if they

are

for

the same.

still

you forget to turn and go right into the

wasn't allowed to do

it.

me. Go say hello to the owners of the "Mont And to an old friend, warmest regards from a

maitre.

Maurice Ravel I.

Ravel's

bedroom was one

reached by going outside. built

He

flight

below the

rest

later eliminated this

which connected the kitchen and

his

of the house, and could only be

inconvenience by having a staircase

bedroom.

234. to Lucien Garban

Le Belvedere

March

Montfort I'Amaury

Dear It

(S.

&

10,

1924

O.)

friend.

would be most kind of you to send me

as possible. I've forgotten quite a

Liszt's

few of them.

I

Hungarian Rhapsodies as soon

think that they appeared in the

Classic Edition. ^

And

then, have

my

photo sent to "Menschen und Menschenwerke," Por-

zellangasse 16, Vienna q For 2 months, this encyclopedia has been asking for .

it,

and the photographer on rue de Bourgogne^ has been promising it to me.

I'll

simply look younger with Durand's photo.

Gaveau (Le Roi David). ^ In the afternoon, I some songs by Roland [-Manuel] are to be performed. He was supposed to let me know. Can you tell me? Till Friday, probably, at Salle

don't

know where

or when,

Affectionate regards to both of you,

Maurice Ravel 1.

Published by Durand.

2.

That

3.

On

is,

Roland-Manuel.

Friday evening,

March

14,

Honegger's oratorio King David and Faure's

Requiem were conducted by Robert Siohan.

235. to Jelly d'Aranyi

March

Le Belvedere

13,

1924

Montfort I'Amaury

Dear Mademoiselle, Would you have the time to

to

come

speak to you about Tzigane, which

to Paris in 2 or 3 weeks.? If so, I

I

would

like

am writing specially for you, which will ^

Correspondence

be dedicated in the

and which will replace

to you,

:

:

253

:

my sonata, temporarily abandoned,

London program.

This Tzigane must be a piece of great

produce

provided that

brilliant effects,

it is

Certain passages can

virtuosity.

possible to perform

them

—which

Fm not always sure of If there is

would be

no other way,

will

I

submit them to you by mail. Obviously,

this

less convenient.

While awaiting the pleasure of seeing you again, dear Mademoiselle, please believe in

at the

my great artistic

very least on April 26,

sympathy.

Maurice Ravel I.

In an interview with this writer,

which took place

in

London

Mme Robert Casadesus recalled a private musicale

in 1922, in

which

Jelly d'Aranyi

and Hans Kindler

performed the Sonata for Violin and Cello. Late in the evening Ravel asked the

Hungarian

violinist to play

composer asked until

for

some gypsy melodies. After Mile d'Aranyi

about 5 a.m., with everyone exhausted except the

evening was to mark the

236. to

initial

violinist

and the composer. That

gestation of Tzigane.

Roland-Manuel March

Le Belvedere Montfort TAmaury

Dear

obliged, the

one more melody, and then another. The gypsy melodies continued

(S.

25, 1924

& O.)

friend,

Germaine

Tailleferre^

her ballet.^ She doesn't

reminds

know

me that I must write to Ida Rubinstein about

that

I

forgot to speak to Koussevitzky about her

concerto!^ I

console myself in hoping that

effective precisely

Would you put

because

it is

the address

Almost nothing of Tzigane finished

my recommendation

will

be

all

the

more

tardy.

on the envelope and mail the is

written. Yet

I

am

letter?

convinced that

it

will

be

on time.

Cordial regards,

Maurice Ravel 1.

Mme

Tailleferre

(1892- 1983) began her studies

Cocteau compared her music to that of the Parisian paintings are noted for their

charm and elegance.

at the

artist

Conservatoire in 1904.

Marie Laurencin, whose

Mme Tailleferre was the last surviving

member oiLes Six. 2.

Probably Le Marchand d'oiseaux,

first

performed

in Paris

by the Swedish Ballet in

1923. 3.

Mme Tailleferre performed the premiere of her Piano Concerto with Koussevitzky

in 1924.

2^4

'

Correspondence

*

•

237. tojeanjobert

Le Belvedere

April 14, 1924

Montfort I'Amaury

Dear It's

Sir

and

(S.

& O.)

friend,

agreed then:

will

I

conduct "Sarabande" and Danse in Madrid on

May 5.

Please send the material to the Philharmonic Society of Madrid, Carretas, 27

and 29, Madrid,

The

soon as possible.

as

orchestra and

its

conductor, Sefior Perez Casas, wishing to keep these

pieces in their repertoire, would like to I still

haven't thanked you for the scores which

distracted by this

and which

Dear

know your

still

Sir

terms.

I

received. Excuse me:

I

am

damn violin piece, which is supposed to be played in London,

isn't finished.

and

friend, believe

me

cordially yours,

Maurice Ravel

238. to Lucien

Garban

14 Holland Park

April 24, 1924

London, W.ii

Dear

friend,

finally

I

culty:

no

managed were

seats

to arrive in

available

London on Monday

on the noon

train;

I

night, not without diffi-

had to

fight to get

one on the 4

o'clock train, which arrived an hour and a half late. I

had anticipated that I wouldn't be able to see your in-laws: I was working till

the last minute and arrived in Paris by car on I

forgot

— among

scarcely glanced at

accent on the

e,

other things

them when

I

—

from London. Affectionately to both of you,

Maurice Ravel I.

I

Have another proof sent to me

of Madrid, Carretas, 27 and 29.

Ronsard a son dme.

1

I

had

discovered a serious error: Gerar with an

which would dismay the dedicatee. There are probably

perhaps also some nuances, which preter.

Sunday evening.

to take the proofs of the song.^

will

in

others,

determine tomorrow with the inter-

Madrid, c/o the Philharmonic Society

will arrive there

on the 28th

at night, directly

1

.

Correspondence

:

:

255

:

239. to Constantin Brailoiu 14 Holland Park

April 25, 1924

London, W. 1

Dear

Sir

and

friend,

Your special delivery

letter arrived at

Montfort when

was

I

finishing a

rhapsody for violin and piano: Tzigane, whose premiere has been announced here for tomorrow. I

was thinking of going

to see

you before leaving for England, but

passed through Paris on Sunday morning.

Once

and

(proofs, corrections, rehearsals with the violinist),

before the concert

—

that

here,

I

it's

only today

found a few moments to ask you

I

I

only

continued to work

—

to excuse

the day

me, and

my sincere regret at not having been able to see you again and speak

to express

with you about our friend Kiriac.

Won't you be returning will

go directly

to Spain.

to Paris soon?

be back

I'll

I'm leaving London next Sunday and

at the

beginning of June, and intend to

remain in Montfort I'Amaury the entire summer and work. receive

you

(9 o'clock train

from the Invalides

station; at

I

would be happy to

Montfort, take the bus

into town). I

trust that

you

will give

me

this pleasure

and send you

my most

cordial

regards.

Maurice Ravel

240. to

Manuel de

Falla

Hotel de Paris

April 30, 1924

Madrid

Dear

friend.

You know I

would

that

I

am

in

Madrid. Don't you have to come here shortly?

certainly like to go

and see you, but 22 hours

in a train

is

really a lot.

Moreover, on the i8th, I'm supposed to be in Barcelona, and thanks 3 -hour delay,

I

had

to

spend 2 nights on the

from which

train,

I

to a

am

still

exhausted. I I

have just rehearsed La

Valse,

and Debussy's "Sarabande" and Danse, which

orchestrated. Fortunately, the orchestra

who are very kind;

otherwise,

few words of Spanish,

At the

hotel,

stationery, they I

it

Italian,

don't

is

composed of excellent musicians

know how I would have managed with the

and pidgin French

produced some disastrous

brought

was requested

I

to

me

a hot chocolate.

that

results:

It finally

I

can put together.

when

I

asked for some

got straightened out.

.

.

send you fond regards from the Copeley Hardings^ and

Aubry, who, moreover, was supposed to write to you.

2^6

:

:

Correspondence

:

Nevertheless,

I still

hope

to see you. Until then, accept

my most affectionate

regards.

Maurice Ravel See

I.

letter no. 218,

note

i.

241. to Robert Casadesus

Le Belvedere

June

Montfort TAmaury

Dear

1924

O.)

friend,

should have written to you a week ago: one of my oldest friends sent

I

letter which

he had received from Tokyo. In

it,

— she

is

wife's interest in

Academy

me

&

(S.

18,

that

If

—

coming

France

to

me a M. Mishio Ishimoto wrote of his

you are much more

Tokyo Music

a student at the

in order to study the piano, either with

you or with me.

It

seems

to

qualified.

you accept, would you reply

directiy to

my

friend, at the following ad-

dress?:

Count Austin de Croze Avenue Mac-Mahon, 7

Paris,

XVII

And here are some of the addresses of the singers. Unfortunately, I'm almost certain that the ist will be in Aix-les-Bains,

and the 2nd

in St.-Jean-de-Luz.^

Very cordially yours,

Maurice Ravel

Did

I tell

you, the other night, iih2itjeux d'eau (among other pieces) has never

been played so

well.^^

1

These names and addresses were written on

2.

On June

a separate sheet,

which has been lost.

11, 1924, Robert Casadesus played an all-Ravel program

at Salle Pleyel.

The recital was broadcast on the radio, a pioneering event whose revolutionary technology was duly noted by the

critics.

(See LeMenestrel,

vol. 86, no. 25,

June 20, 1924,

pp.

276-77.)

242.

Manuel de

Falla to

Maurice Ravel

Granada

Dear

July 7, 1924

friend,

Ernesto Halffter has asked so with great pleasure.

As you know, he

is

me

to write

you a

letter

of introduction, and

I

do

^

a

greatest admiration for

young man with uncommon musical you

—which

is

perfectiy natural;

gifts.

and

He

this is

has the

another

Correspondence

why

reason

counsel. gifts,

I

He

admire him. Welcome him kindly.

I

:

:

2^7

:

needs your precious

have great hope in HalfFter's future, for in addition to his natural

he has a strong desire to develop them as

much

as possible through

serious study.

He

is

also the conductor of the

have organized in Seville.

I

new

Betica

Chamber

Orchestra, ^ which

have already spoken to you about

it.

They

we

are,

moreover, working enthusiastically on your wonderful Mother Goose. I

was

keenly regretted not being able to see you during your stay in Spain, and also

me on that occasion. my warmest regards.

touched by your great kindness towards

Heartfelt thanks, dear friend, together with

Your

Manuel de 1.

Falla

Halffter (1905-1989)

would become

Falla's

most important

disciple.

At

Falla's

request he orchestrated the accompaniments to the Seven Spanish Folk Songs, and he later

completed Atldntida, the imposing posthumous oratorio that Falla had worked on

during the 2.

last

eighteen years of his

life.

This group traveled throughout Spain, introducing audiences

verdi,

Alessandro

Scarlatti,

and Haydn,

to

as well as Stravinsky, Ravel,

works by Monte-

and the modern

Spanish school.

243. to Georgette

Marnold

Le Belvedere

August 29, 1924

Montfort I'Amaury

Dear

(S.

&

O.)

friend,

My news is simple: Pm neither getting fatter nor thinner. I'm working a great And

deal and producing

little.

take a vacation, as

I

have learned from everyone that

Montfort as

I

think, in

it

does,

my house, which is less so.

Normandy. And

tidy; they're

at

having been forbidden to it

rains as

besides, they are

going to reconstruct

name of your landlady is badly misspelled,

for

it.

Affectionately,

Maurice Ravel I.

have no regrets

it,

which

much

at

demoUshing will

be even

^

If the

blame

not

I

See

letter no. 233,

note

i.

the postmarks alone are to

2^8

:

:

244. to

Correspondence

:

Theodor Szanto

Le Belvedere

September 27, 1924

Montfort TAmaury

Dear

friend,

Thank you

for Taifun,

examine your score:

I

^

which

several kilometers in the forest

course,

I

haven't

If we don't see

Gaveau:

first

left

just arrived. I

hope

Montfort

when all

at the

moment

to

my head

is

going to

Of

split.

summer.

each other before,

performance

feel that

I

to find a free

some nourishment, or to walk

quit the grind only to take

I

hope

to see

S.M.I, o^ Tzigane.

you on October 15 ^ I

will

at Salle

have a copy of it sent

to you.

Cordial regards to you both.

Maurice Ravel 1

Typhoon

based upon a

is

German libretto by Melchior Lengyel and subtided "a The opera had recendy been published by Universal

Japanese tragedy in three acts." Edition. 2.

The

performers were two young American

pianist Beveridge Webster. Credit should also

artists, violinist

be given

to the

Samuel Dushkin and page turner, Maurice

Ravel. For this performance, the piano was fitted with a special attachment called a "lutheal,"

which produces the approximate timbre of a Hungarian cimbalom or a

The who patented it in harpsichord.

lutheal

19 19.

was invented by Georges Cloetens, a Belgian organ

builder,

By 1925, however, it was rapidly becoming obsolete. Ravel used

the lutheal for the last time in

method of approximating

its

UEnfant

et les sortileges,

but also suggested an alternate

timbre.

245. to Charles Koechlin Montfort 1 'Amaury

Dear I

October 21,

am

still

a bit tired: I'm recovering

from a grippe which was thought

rather serious, but which suddenly dissipated. Nevertheless, days.

1

924

friend,

And my

lyric fantasy,^

which

is far

pleted by the end of the year! This clever preparation for an excuse:

is

I will,

from being

it

made me

finished,

nevertheless,

come

be

lose 4

must be com-

a continual preoccupation,

and not a

to Villers^

20th, but will ask you for complete details in order to gain as

to

much

on the time as

possible.

At what time

will the

concert take

place.^

Of

course, rehearsals will be

unnecessary: Foumier^ plays the Sonata by heart and Bathori knows better than

I

do, as she can sing

would be incapable of doing.

them while accompanying

my songs

herself,

which

I

^

.

Correspondence

What

the train schedule? If the concert

is

is

:

:

in the afternoon, could

:

25g

I

leave

immediately afterwards? I

did indeed read the article by Monsieur

chattering,

no

sillier

than so

J.

R. Bloch:

many others. Didn't I "^

it's

an incoherent

represent to the critics for a

long time the most perfect example of insensitivity and lack of emotion? That

was of no importance. And the success they have given me is

just as

in the past

few years

unimportant.

Thanks

in

advance for the information, and warmest regards,

Maurice Ravel

1

1

L 'Enfant et les sortileges.

2.

Koechlin had a country home in Villers-sur-Mer, on the coast of Normandy, about

10 miles northwest of Paris. 3.

The Sonata for Violin and

Cello was performed by violinist Robert Krettly and the

brilliant cellist Pierre Fournier, 4. Jean-Richard Bloch 's

then 18 years old.

article,

"Une

Insurrection contre la sensibilite," appeared in

Le Monde musical (September 1924, pp. 303-04), and was promptiy challenged by Koechlin's

"Au

sujet de

Bloch" {Le Monde

1

'insurrection contre la sensibilite et de I'article de

musical,

M.

J.-R.

October 1924, pp. 323-24). Although praising Honegger's

music, Bloch criticized Stravinsky's Rite ofSpring, and noted that "love, tenderness, and poetic revery"

had been expunged from

modem music. "We have witnessed a genuine

surgery of sensibility," he wrote. Koechlin refuted Bloch's criticism of Stravinsky,

pointed out examples of sensibility in contemporary music, and noted that Ravel had interpreted the romanticism of Gaspard de la nuit "with the qualities of a classic."

246. to Marcelle Gerar and family

Le Belvedere

[late

Montfort I'Amaury

(S.

October, 1924]

& O.)

Warmest good wishes, dear

friends,

on the

arrival

of young Ariel, ^ who,

let's

hope, won't be too naughty an angel.

ITR 1.

The younger

2.

This message

of

Mme Gerar's two sons, who was bom on October 28,

is

written

on Ravel's

1924.

calling card (see plate 8).

247. to Marcelle Gerar

November

Le Belvedere Montfort I'Amaury

Abandon

all

(S.

&

21,

1924

O.)

hope, dear friend.

On

that day,

order to rehearse Tzigane with Pierne, ^ but

I

I

must indeed go

will take the

to Paris in

4 o'clock train. As I'm

26o

\

:

my old friend de Croze, I was supposed to leave at 7 o'clock in order and you wouldn't believe how important 9 hours are for me

writing to to

come

at this

Correspondence

:

for lunch;

moment.

also won't go to the Chatelet theater the following Sunday. I'm not budging,

I

or moving quickly, as you see; and I'm seeing no one but

my

Negroes,

frogs,

shepherdesses, and various insects.

Cordial regards to

all,

including the saint and the sinner,^ from yours

truly,

Maurice Ravel 1

The

first

orchestral performance of Tzigane

was given by

Gabriel Pieme conducting the Colonne Orchestra on 2.

A bantering reference

248. to

to

Madame Rene

November

Mme Gerar's young sons.

de Saint-Marceaux

Le Belvedere

December

&

Montfort I'Amaury

(S.

Dear Madame and

friend,

UEnfant et les sortileges deliver the score

I'm working on

But as

I

will

I

be performed

by the end of this month

it

8,

1924

O.)

.

this winter in .

.

and

it's

far

Monte

Carlo;

from being

I

must

finished.

continually.

am conducting La Valse at the Chatelet theater on the 2 1 st,

a rehearsal on Saturday, evening.

Jelly d'Aranyi, with

30, 1924.

I

would only have

Dear Madame and

I

could be at your

and have

Montfort the previous

to leave

can therefore come on Friday, though not for dinner: the

in Paris only at 10:30, so

^

home about

friend, believe in the very cordial

1

train arrives

1:00 p.m.

and respectful friend-

ship of yours truly,

Maurice Ravel I.

Ravel shared the podium with two old friends, Andre Caplet and Gabriel Pieme.

La Valse, Pieme led the Colonne La Damoiselle elue by Debussy and The Sorcerer's Apprentice by Dukas.

Caplet conducted his Miroir de Jesus, and, following

Orchestra in

249. to Jacques

Durand March

Hotel de Paris

16,

1925

Monte Carlo Dear

friend.

Pardon

me

for not having written sooner: since

cupied with rehearsals and error

—

tor the

.

also, alas!

my arrival,

with corrections

I

have been oc-

— every note has an

Thanks to a marvelous orchestra, which loves the work, and a conducI have never before encountered, everything has worked

Hke of whom

^

Correspondence

its

way out:

this evening, a

complete run through.

formed. Mile Gauley^, the Child, looks

The

voice.

cat duet will never

am writing to Colette.

Till

:

261

The roles are remarkably per-

like a six-year-old,

be meowed better than by

Warnery, who, moreover, sings the Clock's

:

:

and has a

delightful

Madame Dubois and

air to perfection.

By the same mail,

I

Thursday, and warmest regards to you both.

Maurice Ravel 1.

The

conductor and composer Victor de Sabata (1892- 1967) led the

Italian

premiere of L'Enfant 2.

et les sortileges

(see p. 438, note 6).

The French soprano Marie -Therese Gauley

Monte Carlo and

in Paris (at the

created the role of the Child in

Opera-Comique, February

1926).

i,

250. to Colette de Jouvenel

March

Hotel de Paris

16,

1925

Monte Carlo Dear

friend.

When are you arriving.'' fault

.

.

tsk

.

.

.

.

tsk

.

.

.

Despite the disastrous state of the material

—

,

they

managed

—

it's

my

to decipher the score, thanks to a

superior orchestra and a truly extraordinary conductor.

There

is

a complete run through tonight, and the premiere

is

set for the 21st

(next Saturday).

The bourg

and the ushers

orchestra, chorus, soloists,

—

are enthusiastic:

Come

it's

a

quickly: your suite awaits

carefully prepared

and

—

I

was forgetting Guns-

good omen. you

at the

Hotel de

Paris,

where the food

is

indigestible.

And if you have a few minutes before leaving, send Durand a second couplet for the celebrated aria: "You, the heart of the rose

." .

.

^

which awaits only you in

order to be launched by our pubUshers.

See you soon. With kind regards and

gratitude,

Maurice Ravel I.

The

Child's aria

251. to Lucien

(Durand piano vocal

score, p. 50).

Garban

Le Belvedere Montfort I'Amaury

Dear

April 20, 1925 (S.

& O.)

friend.

The commission from America Until now,

10 years:

I

it's

...

I

intend to begin work on

have been nursing a colossal case of laziness. always like that after each job. Fortunately,

I

I

it

tomorrow. ^

feel as if I

have aged

haven't written much!

262

:

:

Correspondence

:

all day Saturday and may go there on know when (it depends on my work). If so, I will be at Durand's o'clock, or will come to your home in the evening. I don't suggest

have matters to take care of in Paris

I

Friday

—

don't

about 3

office

you

that

I

invite

me

for dinner, because

I

home

couldn't arrive at your

before 8

Have the score with you: you spoke about some doubtful passages are more than you would believe!

o'clock.

there

At any event,

see you

I'll

on Saturday. Affectionate regards

to the three of

you,

Maurice Ravel This would be the Chansons

I.

beth Sprague Coolidge (see

madecasses,

letter no.

which were commissioned by Mrs. Eliza-

259, note

i).

Garban

252. to Lucien

May

Le Belvedere Montfort I'Amaury

Dear I

just

looked over the "excerpts"

The Clock

the score.

The

II)

yet

it's

I

there's

:

A superb

^

Damn

it!

you can sense the

haste:

no danger of an error regarding the missing sharp

natural sign has taken

in

place.

its

Fire in the 6th measure from the end, the chord has disappeared: :

not a pearl necklace!

The Shepherds when a contralto sees what is asked for beginning from

III)

the

1925

& O.)

(S.

friend,

have

I)

i,

:

St

measure,

it's

certain that she won't bother with

penultimate measure, the note

is d,

not

it.

Second: in the

e:

^ -dieu!

rV) Ragtime "for mezzo-soprano or tenor" :

that I

St

it's

not for 2 mezzos or 2 tenors.

measure of the

V)

The

last line

on page

.

.

.

Indeed, nothing indicates

And besides, there is a misalignment in the 3.

Child more slurs are needed following measure :

when

serious only

6.

This would be

a shortwinded singer felt warranted in taking a breath

between each note. Enclosed

is

Furthermore,

a receipt I

brother, one for

gave

it

away

which

I

would ask you

no longer have a score.

Mme Casella:

to a beggar.

I

Was

should

still

I

to give to

whom it may concern. One was for my

given 3 of them.^

have one. Perhaps

I

inadvertently

Correspondence

I

began working productively only today:

Varlez,^ if she

is still

:

26j

:

high time!

it's

and

Affectionate regards to the three of you;

:

my

compliments

to

Mme

with you.

Maurice Ravel 1.

OfL'Enfant

2.

Garban's mother-in-law.

et les sortileges.

253. to Georges Jean- Aubry

May

Hotel d'Athenes

23, 1925

21 rue d'Athenes

Dear

friend,

I'm writing to forthcoming

Madame

trip to

Alvar (informally and a bit

London

CooUdge) and

(reception of Mrs.

she won't be in London, could you

hospitality. If

late) to tell

let

me know

Bathori proposed that we perform a recital during our stay

of course,

tell

Mayer).

Do you

think

I'm counting on your prompt reply leave

would be

it

(to

her of

to request

my her

immediately?

(at

a private

home

possible.^

the ist question) as I'm planning to

on Wednesday morning.

Thanks

in

advance and cordial regards,

Maurice Ravel

254. to

M. D.

Calvocoressi

Le Belvedere

July 31, 1925

Montfort I'Amaury

Dear

(S.

&

O.)

friend.

That's one, two, three replies "consequential," because i)

Your

night, with

Your

I St

letter

I

don't

I owe you. This one will be owe it to you. Let's proceed in

of January 9/25: at the time,

one sleepless night a week (more or

letter,

therefore, shared the

same

I

was sleeping

less).

fate as

cross-eyed.

I still

intend to reply to

risk

M. Georges Marchand,

if

Does

it

same address: 2 rue de Gros Murger

(is

that right?)

more

for 3 months.

other mail:

one eye while orchestrating with the other, and thus ran the

the

3 to 5 hours a

That lasted

my

all

order.

he

I

read

it

with

of becoming is still at

mean

the

that this

starving writer died of indigestion? ^ 2) Your letter of May 1/25: 1 was in Paris, occupied with rehearsals of the "Chanson Madecasse," which was also going to be performed in London a few

264

days

:

Correspondence

:

:

later. 2

You must have learned

that the matter

you spoke

to

me

about did

not materiaUze.

Your telegram of May ?/25 when you got mine, didn*t you go to meet me

3)

:

Gare du Nord? That morning,

at the

just as

I

was leaving

to

go there,

I

my passport had expired. I rushed over to the Foreign Office; a secretary accompanied me to the passport office and everything was hurried through in fifteen minutes. But I missed my train and only left in the afternoon. discovered that

I

intended to send you an apology from London, then from Paris, and

from Montfort. Impossible: letters.

The

I

I

remain petrified in front of a

can do

is

to rearrange

pile

them once

finally

of unanswered

a week.

And

this

my getting back to work: a huge job, to be followed by another big one,

prevents

which

only thing

I

recently promised to deliver by the

of hard work

lie

How many nights

end of the year.^

ahead! let him know I gave you the "Une Barque sur Tocean" was orchestrated in 1907, and

4) In reply to Eschig"^ (for your trouble, please

information directly):

As

the "Alborada [del gracioso]" in 191 8. defunte]y I

thing.

have no idea.^ Isn't

Don't you have a

it

in

for the

arrange to have

copy.-' I'll

Pavane [pour une Infante

Roland-Manuers

book.?

It's

a very useful

Durand send you

one.

Will you be coming to Paris soon? I'm not budging: I'm going to try to get

back to the grind. Affectionate regards to you both,

Maurice Ravel 1

Calvocoressi recalled that

organize

Marchand was

some performances of Ravel's music

a

young French musician who wished

to

("Ravel's Letters to Calvocoressi," p. 16).

"Ravel was not the only one to be struck by the peculiar street-name [meaning "Large" or "Stout" Murger] and to

Bohemey 2.

(Puccini's

wonder what

La Boheme is based on

relation

the

it

bore to the author of La Vie de

work by Henri Murger.)

Referring to "Aoua!," the middle song of the cycle, which was the

first

to

be

completed. 3.

In addition to the Chansons madecasses, Ravel was working on the Sonata for Violin

and Piano, and was planning

Maud 4. 5.

Loty in the leading

to write

role.

The

an operetta based on a

The publisher Max Eschig. Composed in 1899, the Pavane was

Alban Berg

al.

to

Maurice Ravel^ [August

[Austria]

was a great

by Mayrargues, with

orchestrated in 19 10.

255. Berg, Honegger, Gieseking, et

It

text

operetta remained in the planning stages.

joy to hear

some of your charming music once

again.

1 1

,

1

925]

^

Correspondence

The Duo^ was

a triumphal success.

We

are very

happy about

:

:

265

:

it.

Arthur Honegger"^

Kind regards from Vaura.^ Respectful greetings from your admirer

Walter Gieseking^ 1.

This postcard, sent from Austria, was addressed

Manuel's parents

Some

in Lyons-la-F6ret.

among them Egon Wellesz, Hermann Scherchen, and is

written in 2.

German, and the others

to the

summer home of Roland-

ten other musicians signed their names,

Paul Hindemith. Berg's message

are in French.

The

This postmark appears on the postcard.

face of the card

shows a panoramic

view of Salzburg. 3.

That

4. 5.

See Ravel's appreciation of Honegger (1892- 195 5) on p. 446. Honegger's wife, the pianist Andree Vaurabourg (1894- 1980).

6.

One

is,

the Sonata for Violin and Cello.

of the foremost pianists of his time, Gieseking (1895- 1956) was particularly

noted for his interpretations of Debussy and Ravel. daughter, kindly informed

me

(letter

Mme

A. Colassis, the pianist's

dated July 23, 1985) that Gieseking and Ravel

never met, nor was she aware of any other correspondence between them.

256. to Helene Jourdan-Morhange

Le Belvedere Montfort TAmaury

August (S.

&

Definitely not, dear friend:

reasonable:

have to

Pardon

I

will

not

come

to

Pm resuming work—with difficulty.

start all

me

1925

15,

O.)

applaud you.

If

I

stop-I

One must be

—

know myself

I'll

over again.

—you have no

choice: the Sonata!

— and

believe

me

very affec-

tionately yours,

Maurice Ravel

257. to

Madame

Pavlovsky-Borovick^

V.

Le Belvedere

December

&

Montfort TAmaury

(S.

Madame, Away from home

since last

to Montfort. I

I

trust that

am unaware

11,

1925

O.)

my

Monday,

reply will

I

found your kind

still

find

you

letter

upon returning

in Paris.

of the existence of this transcription, and

am

certain that

my

::

266

Correspondence

:

publisher

is

also unacquainted with

my

and with

in this matter,

think that you should consult with

it. I

sincere apologies, believe

me

him

very truly yours,

Maurice RaveP

A Russian soprano,

1.

transcription of tet,

and

she came to Paris in 1925 to study voice. In Paris she heard a

"La Flute enchantee" from

and, wishing to perform

flute,

was never copyrighted.)

transcription, apparently iUegal,

Ravel's autograph

2.

russkih arhivov [Letters

Ravel's Sheherazade for voice, string quar-

she wrote to Ravel for permission. (The

it,

reproduced in A. Gosenpud, Pis'ma zambeznyh muzykantov

is

iz

of foreign musicians in Russian archives], (Leningrad: Musika,

1967), plate opposite p. 365.

258. to Alexandre Tansman^

Le Belvedere

December

Montfort TAmaury

Dear I

(S.

&

18,

1925

letter.

After

O.)

friend,

was

just

visiting with

about to leave for Alsace

when

our friends the Clemenceaus,

I

I

received your 2nd

was counting on answering you

from there. Naturally I didn't have the time, and upon returning,

I

found a huge

amount of mail.

On

the basis of our conversation,

completely: the article it.

is

perfidious,

Whether or not Marya Freund

matter of personal All of the rest

is

taste.

I

all

my

saw that our friends shared the

opinion

more so because one cannot reply to

Schoenberg better than Debussy

sings

is

a

^

true (but there

is

a

way of presenting it), or it is impossible

to

prove the contrary.^

No upon

doubt,

it

would have been more

Mme Vuillemin:

justified to confer the

at least that distinction

Comcedia and the Courrier musical

.

.

.

and

I

Legion of Honor

would have been approved by

can assure you that I would not have

protested.'*

Very cordially yours,

Maurice Ravel 1.

The noted French composer and pianist of Polish origin (1897- 1986) was bom in

Lodz and soon 2.

after

The

studied at the Conservatory there (1902-14). In 19 19, he

met

Ravel,

who

gave

him

artistic

came

to

France and

counsel and encouraged him.

soprano Marya Freund (1876- 1966), of Polish origin, specialized

in singing

contemporary works, and frequentiy performed Schoenberg's music with the composer. 3.

In a combative article entitied "Rougeurs!" [Blushes!], which appeared in

Courrier musical (27,

many

November

i,

Le

1925, pp. 501-02), Louis Vuillemin complained that

foreign artists were awarded the red ribbon of the Legion of Honor, but

many

Correspondence

deserving French musicians had been overlooked. Thus, he explained,

:

:

267

:

Theodor Szanto

and Marya Freund had been decorated, but Louis Aubert and Gabriel Grovlez had not. 4. Another example of Ravel's ironic humor: Lucy Vuillemin, the critic's wife, had performed minor roles

at the

Theatre des Arts, the Opera-Comique, and the Theatre

des Champs-Elysees.

259. to Mrs. Elizabeth Sprague Coolidge^

December

Le Belvedere

19,

1925

Montfort I'Amaury

Dear Madame, I

did not leave Montfort

summer, thereby hoping to be able

all

Chansons madecasses which piano which I

had

to

I

I

had promised you, and a sonata

to finish the 2

for violin

and

began almost 2 years ago.

abandon these

projects: all of my time

was occupied correcting the

and then directing the rehearsals o(L'Enfant

orchestral proofs

which the Opera-Comique

will

present on January 23.

leaving on a journey which will last

more than

The

^

et les sortileges,

next day,

I

will

be

2 months.^

You can imagine how very sorry I am to have broken my word. Of course, this is

only a delay, and as soon as

resuming I

I

return

— towards

April

— I'm counting on

work."^

trust that

you

will

pardon me, and believe me, dear Madame, very

truly

yours,

Maurice Ravel 1. The American patroness Elizabeth Sprague Coolidge (1864- 1953) commissioned an imposing number of chamber works from composers such as Bartok, Copland,

Hindemith, Prokofiev, Schoenberg, and Stravinsky, among many others. In addition, she sponsored recitals of contemporary chamber music in the United States and Europe (see her letter to Ravel, no. 322). 2.

The

date

3. Ravel's

v^^as

later

postponed to February

i.

concert tour took him to Belgium, Germany, Scandinavia (Copenhagen,

Oslo, Stockholm), England, and Scodand.

A number of lecture-recitals were presented

with his good friends Georges Jean-Aubry and Louise Alvar (see 4.

Completed

in April 1926, the Chansons madecasses

13, 1926, with soloists

Jane Bathori, Alfredo Casella (piano),

Hans Kindler

The program, which

(cello).

p.

439).

were performed

in Paris

M. Baudouin

consisted entirely of

on June

(flute),

and

chamber works com-

missioned by Mrs. Coolidge, including Ernest Bloch's Suite for Viola and Piano, and Charles Loeffler's Cantique au

been

specially

composed

soleil,

for soprano

and chamber orchestra, which had

for the inauguration of the

new music room in the Library of who died just before this

Congress. (M. Baudouin replaced Louis Fleury [1878-1926], recital.

See

letter no. 268,

note

2.)

268 ::

260. to

Correspondence

:

Madame

A. Bonnet

Montfort

January 11, 1926

Dear Madame Bonnet, Here is the monogram

for the handkerchiefs.*

enough time

it

to

embroider

my departure

before

Tm

afraid there won't

be

(on the 24th).

rU telephone Edouard tomorrow morning. Affectionately to

all,

Maurice Ravel

On a separate

I.

26 1

to

.

sheet, Ravel enclosed a

copy of his monogram.

Helene Jourdan-Morhange

[Copenhagen]

These

are the only minutes

to write to you, dear friend. to

pardon me, and write

sortileges]^

— on

Give the above address to

me

February

4,

—

I

the verge of leaving for Oslo *

to

that

1926 found

our friends, asking them

about yourself (and about UEnfant

which, according to Le Temps, seems to

[et les

me to have received a slap).^

Affectionately,

Maurice Ravel

Were you 1

card:

able to hear UEnfant}

The following address, Dehn Pensionat

written in another hand, appears at the top of this post-

Strandvagen 7^

Stockholm 2.

Another example of Ravel's ironic humor. Henry Malherbe's review {Le Temps,

February

3,

1926) was ecstatic from beginning to end. Roland-Manuel called Mal-

herbe's article a "stupid dithyramb" (see letter no. 264).

262. to

Madame Maurice

Delage February

Oslo It's

really winter here.

As

in Paris,

beams

order to prevent people from passing on the sidewalk, but here

them from blocks of ice which can tumble down from There I

hope

are

all

6,

1926

are placed against the houses in it's

to protect

the roofs.

kinds of vehicles: trolleys, cars (with chains), sleighs, skis

to find a letter

from you

in Stockholm.

Affectionate regards to you both,

Maurice Ravel

.

.

.

Correspondence

263. to

Madame Fernand

:

26g

:

Dreyfus

London I

:

February 23, 1926

haven't written to you often,

my

dear marraine.

It isn't

that

Fm

taking

revenge for the persistent silence of my pupil, for which you are not responsible,

but because of the

little

free time afforded

by my comings and goings from

London to the country. I was a bit out of sorts from the Scandinavian diet. But I miss the snow, the sun, and the skies of Sweden, although England surprised

me

with a delightful spring: crocuses amid the grass, verdant shrubs, night-

ingales.

Fm leaving tomorrow morning for Glasgow and Edinburgh,^

and

will

be back in early March. Affectionate regards from your

Maurice Ravel I.

In several recitals of chamber music performed in England and Scotland, Ravel

accompanied the twenty-year-old Berceuse sur

le

nam de

Roland-Manuel

264.

violin prodigy

Zino Francescatti, who played the

Gabriel Faure and Tzigane.

to

Maurice Ravel

[42 rue de Bourgogne]

February 23, 1926

[Paris]

Dear

friend.

Pardon

my

delay (the blues; personal vexations; a thousand things which

diminish one's zest for living and acting, rendering friendship mute but in no

way altered). Excuse me: I'm telling you too much or not enough. That's

all

for

today. to give

It is difficult

you a thorough account of the actions and reactions

which VEnfant has aroused. The family stitute

circle naturally

applauded.

The

In-

cursed you until the seventh generation. Henri Fevrier^ declared that

work

the production of your

maintains that

Mamold

Rouche had refused Your work Everyone

is

is

to

is

a scandal, and a generator of scandals.

He

slapped Rouche's face for the hidden reason that

produce UEnfant

performed every night

deUghted that

it is

(sic).^

in a lively, scandalous atmosphere.

always possible to hear the music, particularly

the performers. "We're having a

good time," Roger Bourdin^ confided

to

me,

"we're living through historic moments."

Whether your work is greeted with praise or with reservations, the critics are bit more stupidly than usual with regard to you. The composer's fame bothers them and they are disconcerted. For example: the stupid dithyramb by Malherbe."^ There was very keen praise from Raymond Douches (in

stammering a

2^0

:

:

Correspondence

:

VAvenir); a short article in Paris -Midi with a picture of the film producer Ravel (Gaston)^; a very pleasant article by Vuillermoz. Finally, a characteristic

thrashing by Messager in Le Figaro.

His opinion music, you

which

is

condemn yourself to composing nothing more than imitative music,

in his view

is

he claims you

that

spoke with Messager about his review.

I

by removing every element of sensibility from your

categorical:

intolerable.^

The

serious error in his article, in

sacrifice everything for

some

my view,

is

when

it

orchestral effects,

me that L 'Enfant is the least orchestrated but the most orchestral work you have written. That was the main point of my article in Le MenestrelJ seems

to

wrote a detailed review of L'Enfant in an

I

Pleyel^

article

published in

forced

always pushes me,

asm "which

ain't

when

speak about you, in the direction of poetic enthusi-

I

worth the trouble" and which doesn't concern anyone since

To admiration when I

have no father confessor.

you, however,

affectionate

see you walking on a tightrope.

I

can say that

I I

am

filled

—which so many of the young bourgeoisie put on

call

I

bourgeois, says Fargue,^ anyone

personal safety. There are

many

—

I

with

love to see

enclose yourself in your clocks, without even missing those slippers

does

La Revue

am sending to you, and which gave me a great deal of difficulty. I myself to be objective and not follow the dictates of my heart, which

which I

you

as Inigo

after you.

who renounces combat and love

—

for

passages in L'Enfant in which you renounce

yourself in order to discover this other identity, which eternity will not change.

There

isn't

Messager,

one passage

in

this sophisticated

which you renounce combat man, who although best

— or

love, despite

qualified to understand

you, doesn't hear you.

From

everything

"slap" at

all,

as

you

I

have written, you can infer xhdXLEnfant did not receive a

said. It is

even claimed that the success of the work is due

the claque which you employ to imitate the cat at the end of the

Therefore, sortileges, I

but

promise I

will

be

to imitate the cat the next time less successful at

trust that your tour

soon.

we

I

We

will take

you

will imitate the cat,

is

it

hear LEnfant

and Malherbe

to

scene.

go to ht^rLEnfant et

les

than your music.

concluding pleasandy, and

to

I

first

I

hope

et les sortileges at

will fall into

to see

the

you among us

Opera-Comique;

your arms shedding gentle

tears.

Very cordially yours,

Roland -Manuel 1.

The French composer (1875-1957). His

son, the pianist Jacques Fevrier (1900-

1979), was one of Ravel's favorite interpreters. 2.

This incident took place

at the dress rehearsal

of LEnfant et les sortileges. According

to a front-page article in Paris-Midi (February 3, 1926), a brief scuffle

Marnold challenged Rouche

to a duel.

broke out, and

(Whatever the precise aftermath of this episode,

— Correspondence

no

there were, fortunately,

The

fatalities.)

decors carried out by one Valdo Barbey.

It

up

events leading

monthly column in the Mercure de France,

follows: In his

:

:

to this episode

Mamold had

2ji

:

were as

criticized

some

turned out, Marnold explained, that Barbey

was Rouche's son-in-law, and the director of the Opera had

retaliated

by canceling

press privileges. This led to a heated personal attack, in which the charge that

his

Rouche

was "completely devoid of musical culture" was one of Mamold's milder statements (see tht 3.

Cat

Mercure de France, December

The French at the

1925, pp. 512-22).

i,

baritone (1900-1974).

Opera-Comique, and Ravel

He

performed the

later dedicated the

roles of the

Clock and the

"Drinking Song" from Don

Quichotte a Dulcinee to him. 4.

See

5.

Writing inParis-Midi on February

note

letter no. 172,

review. His article contained

the film producer 6.

2.

2,

Gaston Ravel!

Andre Messager's review appeared

his criticism as follows:

"To sum

This

8.

This

review,

in

Le Figaro on February 4, 1926. He tempered

up, a very fine effort

management of the Opera-Comique" 7.

1926, Andre Coeuroy gaveL'Enfant a glowing

two photographs, one of Colette, and the other of Ravel

which brings credit upon the new

(see p. 483, note 13).

1926, pp. 60-61.

article

appeared in LeMenestrel on February

article

appeared in La Revue Pley el on February 15, 1926, pp. 10-12. In his

Roland-Manuel apdy observed: "We know

pushed Ravel

to grant

more of a heart

humans. UEnfant

trees than to

5,

that a curious discretion always

to clocks than to clockmakers,

more of a

soul to

et les sortileges illustrates this

aesthetic even

more than

poem by

his old friend

Leon-Paul

L'Heure espagnoleP 9.

One

of Ravel's

songs, Reoes,

last

was

set to a

Fargue (1876- 1947).

265. to Robert Casadesus

March

Le Belvedere Montfort FAmaury

(S.

My dear friend, A sonata for violin for; 2

&

Chansons madecasses scarcely begun, which

soon for the I

wanted

cloister

first

to

promised

note has yet to be written; and

final rehearsals

myself in Montfort,

ofL'Enfant

I

1926

will

is

waiting

to finish

at the

by the

beginning of

have to go to Milan

et les sortileges.

Upon reflection,

I

decided to

like last year.

my apologies to Mile Pity, and me most cordially yours,

favorable time, believe

Maurice Ravel

I

publisher

be performed

to take refuge in Saint-Jean-de-Luz.

Therefore, convey

my

and piano, half finished, which

end of April; an operetta which is supposed next season, whose

20,

O.)

^

while awaiting a more

2/2

A

:

Correspondence

:

:

thousand thanks for the Preludes and for the dedication. ^

upon returning home

I

found them

the day before yesterday, and of course haven't had the

time to examine them.

im 1.

An

2.

Composed in

Italian impresario.

1924, the 24 Preludes by Robert Casadesus, opus 5, were dedicated to

Ravel and published by Eschig in 1925.

266. to Mrs. Louise Alvar

Le Belvedere

March

31, 1926

Montfort TAmaury

Dear

To

friend,

think that

had promised

I

of L'Enfant ... as soon as

How restful the I

I

to give

you an account of the 2 staged versions

had seen them!

Scandinavian countries seemed in comparison with Paris!

returned to Montfort dead tired, having accomplished nothing of what

had intended

them

at

to do.

But I know all of the

one time (professional

Let's discuss L'Enfant: at the

a bit "Art Deco." At the

hit operettas:

The

it's still

type of success

never heard so

I

many of

duty!).

Monnaie theater, the

Opera-Comique,

so satisfied with the staging that, two days everything; but

I

it

realization was charming,

wasn't "Art

later, I

Deco"

at

all.

And I was

spent an entire day changing

not perfect. ^ also different: there, the audience awaits the

is

each scene and applauds with

all its

might. Here, they whisde,^ applaud,

end of

meow,

and shout oaths nonstop.

Now I'm cloistered here — I decided that Le Belvedere would make a better monastery than the Pergola madecasses The operetta .

you can see

that

my

in St.-Jean-de-Luz.^ I'm

will follow,

that for 2 days, the

Happy

Easter to

and then the sonata

for violin

and piano:

subjects of meditation are varied.

For the nloment, I'm going

Note

working on the Chansons

all,

to lie

down; I'm exhausted:

it's

probably a cold.

weather has been magnificent.

and

affectionate regards

from yours

truly,

Maurice Ravel 1

At the Theatre de

la

Monnaie

in Brussels, the

decor and production were carried

M. Dalman respectively; their counterparts Comique were Raymond Deshays and M. Arnaud, and Georges Ricou.

out by Jean Delescluzes and

2.

In France, a sign of disapproval.

3.

The

at the

Opera-

local casino!

(

Correspondence

:

:

2J2

:

267. to Helene Jourdan-Morhange

Le Belvedere

April 21, 1926

Montfort I'Amaury

Dear

(S.

&

O.)

friend,

The nougat has just arrived. Pm interrupting my work (no more 8-hour days:

Fm also on the You

night

me

will see

shift).

next week:

it

will

mean

that

I

have finished the [Chansons]

madecasses.

A thousand thanks

and affectionate regards,

Maurice Ravel

Madame

268. to

Alfred Madoux-Frank^

Le Belvedere

April 23, 1926

&

Montfort TAmaury

(S.

Dear Madame and

friend,

am

I

so sorry that

seemed so

O.)

must refuse the brief vacation whose

I

delightful! But,

I

really

decided to leave for St.-Jean-de-Luz; and then, here, but

on condition

that

I

Chansons madecasses, whose

on

May

8,

and

performance

several days later,

are finished (next week)

I

I

thought

seclude myself At the i st

I

itinerary,

however,

must: upon returning to France,

is

I

moment I am

finishing the

supposed to be given in

believe, in Brussels.^

had

I

would be better off

As soon

will direct the rehearsals in Paris

Rome

as the songs

and

will return

immediately to isolate myself till the end of the summer.

Pm even having a telephone installed, despite its disadvantages, so that I can avoid going to Paris. Please excuse me;

Defauw will

also

pardon me,

I

hope.

Pm getting back to work; perhaps PU spend all night at most cordial regards

to

M. Madoux,

and, dear

it.

Madame,

Please convey kindly accept

my my

respectful friendship.

Maurice Ravel 1.

When

visiting Brussels,

Madoux-Frank. 2.

The

Academy

first

in

He was

the

Ravel often stayed at the elegant

home of M. and

owner and editor of the newspaper L'Etoile

performance of the Chansons madecasses took place

Rome on

Saturday afternoon,

May

8,

The

1926.

Bathori, Alfredo Casella (piano), Louis Fleury (flute), and

song cycle was performed soon debut occurred on June 13.

after at the

Egmont Palace

Mme

beige.

at the

American

performers were Jane

Hans Kindler

in Brussels,

(cello).

and the

The

Parisian

2^4

'

''

Correspondence

''

269. to Jean Hure^

May 4,

1926

My dear Hure, Would you, and could you without troubling yourself too much, instruct Manuel Rosenthal,^ who has a great deal to learn, particularly counterpoint and fugue, and who

is

far

from being a millionaire?

recommend him to you because you are acquainted with his endeavors, and have judged them favorably, and righdy so. If you have the spare I

don't need to

me

time to drop

your

activities,

Yours

a note about this matter,

which

I

I

would

also

be glad

to learn

about

haven't kept up with for a very long time.

affectionately,

Maurice Ravel

Did 1.

I

ever thank you for your

Hure (1877-1930) was a

book and

contents?^

its

gifted composer, organist, pianist, pedagogue,

and

writer on music.

The French conductor and composer Manuel Rosenthal (1904-2003) was He later studied counterpoint and fugue with Jean Hure, and composition with Ravel. Thus, following Maurice Delage, Ralph Vaughan-Williams, and Roland-Manuel, he became the last member of what 2.

educated at the Conservatoire.

Ravel enjoyed calling "the school of Montfort." In the 1930s, with Ravel's approbation, Rosenthal orchestrated the

accompaniments of the

well as three of the Five Greek Folk Songs.

many

Ravel

years before,

and

it

Two

was agreed

Histoires naturelles as

them had been transcribed by a complete set would be useful.

of

that

Ravel observed that he would have carried out these transcriptions himself years ago, but

somehow never found

3. Possibly Hure's Introduction

of this

letter

has not been traced.

the time to

a

do so

la technique

A copy of

(see p. 584).

du piano

(Paris, 1910).

(The autograph

in the private collection of the author.)

it is

270. Alexander L. Steinert^ to Maurice Ravel [18 rue Matignon]

May

24 [1926]

at the

same time

[Paris]

Dear Maitre: In sending you the photos

how happy I was

to see

I

spoke about,

I

want

you again the other day

at

to tell

you

Montfort, and

how grateful

I

am for everything you told me about the music you played for me and the music I showed to you. It seems to me that in two minutes you discovered the shortcomings which have always disturbed me. for the kindness

which you have shown

to

me.

I

wish to thank you once again

^

Correspondence

hope

I

to have the pleasure of seeing

you soon, and perhaps

honor of receiving you one day in the near future

my deep

With

at i8

admiration, dear Maitre, believe

me

I

:

:

will

2js

:

have the

rue Matignon.

very truly yours,

Alexander L. Steinert I.

The American composer and pianist (1900- 1982).

Following his

initial

studies in

Boston, Steinert setded in Paris and worked with Charles Koechlin and Vincent d'Indy.

He

later

wrote film music, and was active in Hollywood as a conductor and arranger.

271. to Alexander L. Steinert

May

Le Belvedere Montfort TAmaury Tel.: 89.

Dear

1926

28,

Mt. I'Amaury

friend.

Since

I

Montfort.

my

have abandoned I

will

operetta,

I

am more

often in Paris than in

be there again on Saturday, but so busy that I'm afraid

be able to accept your kind

invitation.

But I promise

to

come, excuse me. See you soon: perhaps on June

i

my utmost.

I

prop up the

will

I

won't

If I don't

(concert of the Revue

Coolidge soiree),^ or again on the 25th

musicale),^ or the 13th (the

Ministry of Finance, where

do

(at

the

franc).

Very cordially yours,

Maurice Ravel 1.

This all-Ravel program

at Salle

Gaveau was sponsored by La Revue

musicale. It

included the Miroin, performed by Robert Casadesus, the String Quartet (Pro Arte Quartet), and concluded with the Introduction et Allegro conducted by the composer, with Lily Laskine (harp),

Marcel Moyse

(flute),

M. Hamelin

(clarinet),

and the Pro Arte

Quartet. 2.

See

letter no. 259,

note 4.

3. Ravel's quip reflected the financial crisis which occurred in France in 1926

the franc

fell

precipitously against the dollar

equalled 55 francs, but in 1926

272. to

it

and the

British

when

pound. In 192 1, the pound

soared to 240 francs.

?^

La Musique

vivante^

September

22, 1926-'

20 Avenue de L'Opera Paris (1^0 [I

do not desire a second performance,

laires.Y

after thirty years,

of my

Sites auricu-

2j6

:

:

Correspondence

:

see no objection to have

I

my Sites heard again

[and die score will be at your

disposal] "^ if I can recover the manuscript.

(Signed):

With

cordial regards

from

Maurice Ravel This document

1.

La Musique

2.

a draft of a letter.

was

a weekly concert series

which often

commenLeon Vallas. For the opening recital of its second season, on October 22, 1926, it

combined music and tary by

is

vivante [Living Music] slides

of the period in which the music was written, with

had been widely publicized

that Sites auriculaires

time, following a lapse of 28 years.

Guide du

concert, 13,

October

i

would be performed

and

second

1926, pp. 64 and 83).

8,

3.

In the autograph, this date

4.

Ravel crossed out the words enclosed in brackets.

is

for the

The performance, however, did not take place (see Le written in another hand.

273. to Alfred Perrin^

November

Hotel Bristol

20,

1926

Bern

Dear

Alfred,

will

I

be

Geneva on the

in

on the 26th, and

I

25th, arriving from Basel.

My concert takes place

expect to remain in Geneva at least 3 days.

to have the pleasure of seeing all of you. If

I

I

therefore hope

cannot contact you before the

evening of the 26th, perhaps you can make arrangements to be free for

any case, 3 tickets

"festival".^ In

your name

had

one.

beUeve the concert is

at the Conservatoire).

at the

box

At any event,

this

office in I

will

not

lost

Madame Ansermet managed to give me the new I trust that my letter will reach you. and write to me immediately, Til receive your reply in

your old address.

Even though the address is incomplete,

If you receive

Bern, which

As soon you,

be put aside for you

Geneva without seeing you.

leave I

(I

will

I

as

it

in time,

am

I

I

leaving

arrive in

will leave the

Wednesday morning.

Geneva,

I'll

go to the Alhambra^ where,

if I

don't find

address of my hotel.

See you soon, dear Alfred, and very

affectionate regards to

all,

Maurice Ravel 1.

Alfred Perrin

(i

880-1957) was a

first

cousin of Maurice Ravel; his mother, nee

Louise Ravel, was the composer's aunt. 2.

This all-Ravel program, organized by the Swiss pianist Franz -Josef

Hirt,

was

presented under the patronage of the French ambassador Jean Hennessy. Ravel per-

formed the Pavanepour une Infante defunte and the Sonatine. The program also included

Correspondence

the Berceuse sur

le

nom

274. to

M. and

Mme E.

Alhambra music

January 18, 1927

8q Montfort TAmaury

Received your

my

hall.

Robert Schmitz

Le Belvedere Tel.:

letters

(S.

& O.)

and cablegrams, dear

trip to Sv^dtzerland.

my

Since

friends, before, during,

return, at the beginning of

spent in Paris,

days

4,

my most

and have

later,

you

trust that

I

Thursday, during

will

recent

just returned

home

which arrived this morning.

my

excuse

stay. I left

I

after

December,

I

time

cabled you

is

last

10 days ago, returned there two

this

minute

your

to find

fortunate therefore that

It's

the time to send you a letter announcing

silence.

and

how my

haven't been at Montfort often; and as you can easily imagine

January

ijj

\

de Gabriel Faure, and Tzigane.

Perrin was a violinist in the orchestra of the

3.

:

and Lorenz Lehr

the Trio, played by Franz-Josef Hirt, his brother Fritz Hirt (violin), (cello),

\

I

of

letter

didn't have

my telegram. My reply is thus

all

the

more complete: First of

cannot negotiate with Welte-Mignon as

all, I

,

Aeohan (Duo- Art). Pleyel, for the

Recendy,

^

had

I

I

am

engaged by

to refuse to enter into a contract with

same reason.

With regard

to the concerto, as

I

cabled you, don't count on

it

any more:

I

discovered that Le Grand Meaulnes had nothing to do with the piano; if Euterpe^ permits, violin

it

will

become

and piano, which

is far

my

a fantasy for cello. Furthermore,

from being

finished,

30, the date set for the premiere in Paris.

sonata for

must be completed by

And I am planning

to write a

May

grand

opera, ^ which might have far-reaching consequences.

You should therefore only count on me sufficient, I

am

confirming

that, for the

to conduct. If

you consider

1927- 1928 season,

I

it

you the

give

exclusive right to negotiate with organizations for a series of 10 concerts, in

return for a guarantee often thousand dollars (10,000). I

didn't quite understand the passage concerning Mayer:

specify "that you".? If so, If you

I

it is

by special agreement with him that

...

is it

am

up

to

me

to

appearing with

think that other terms would be necessary.

need

to cable

me, please do

Commercial Cable Company): messages directiy

Accept

I

to

I

so, if possible, "via

Commercial" (The

have an account there, and telephone

my

them.

my most cordial

regards, dear friends.

Maurice Ravel I'm happy to have your telegraphic address written distinctly it

has been transmitted

much

too capriciously.

at last;

till

now,

2j8

:

:

Correspondence

:

1.

See Appendix E.

2.

In Greek mythology, the

3.

See

Muse

of music and

lyric poetry.

499.

p.

275. tojeanjobert

Le Belvedere Montfort TAmaury Dear friend, Indeed,

much.

I

I

&

O.)

was close by the other

hope

me

waiting for

February 21,1 927 (S.

day, but occupied,

you have pardoned me, and above

that

to begin

all

that you're

very

it

still

not

your meal.

"Sarabande" and Danse went very well

and the

full score,

me

in

Lyon.

I

discovered an error in

number

[^,

a treble clef is missing in the left hand,

and

the "Sarabande" which had escaped in the harp part

and regretted

until

consequently a bass clef 4 measures

later. I

the corrections instinctively,^ or else

I

now:

at rehearsal

imagine that the performers

would have

to resign

made

myself to compos-

ing a 9th symphony.

Perhaps

I

will see

you Thursday evening

at Les Burgraves,'^

and

certainly

on

Friday (afternoon) at the Beriza performance.^

My most cordial regards to you and Madame Jobert. Maurice Ravel 1.

In the Jobert score, on

four measures 2.

later.

p. 10,

Such an

the treble clef is missing, but a bass clef does appear

oversight would indeed be corrected instinctively.

An opera by Leo Sachs based on the trilogy by Victor Hugo. It was presented at the

Opera on Thursday, February 24, 1927,

as a gala fund-raising event for the Victor

Hugo

Foundation. 3.

in

The French soprano Marguerite Beriza sponsored a series of private performances

which she sang. She performed the

role of Eurydice in Les Malheurs d'Orphee

by

Milhaud, which was coupled with Florent Schmitt's FonaionnaireMCMXII, a humorous

pantomime manages

subtitled "inaction

en musique."

(It

to accomplish nothing at his job.)

portrays a

civil

servant who successfully

Both works were conducted by Vladimir

Golschmann.

276. Darius Milhaud to Maurice Ravel 10 Boulevard de Clichy

[April 2, 1927]^

[Paris]

My dear friend. Allow

me

to tell

you how touched

I

was by your comments about

Orphee in your interview in Les Nouvelles

litteraires.

^

my

little

Correspondence

\

:

2jg

:

Only your judgment had the necessary authority to put M. Lalo's opinion its

place. It

is

extremely important to

all

in

of us that you were willing to intervene

in this quarrel.

My dear friend, please believe me your very cordially devoted Milhaud 1.

This postmark appears on the envelope of Milhaud 's undated

2.

See

p.

letter.

446.

277. to Marcelle Gerar

Le Belvedere Tel.: 89.

May

April 21, 1927

Montfort I'Amaury

23, dear friend?

(S.

&

O.)

May it please

our good Euterpe that

my

sonata be on

the road to completion, and that Enesco^ won't have to sight-read

it

a

week

later!

Don't hold

against

it

me, and beUeve

in the sincere friendship of your

Maurice Ravel Don't forget 1.

to enroll yourself for the 30th.^

The eminent Romanian violinist and composer Georges Enesco

a fellow student at the Conservatoire,

duced the Sonata

for Violin

sponsored by Durand and 2.

That

is,

278. Paul 3

for the

Morand^

and Piano with Ravel on

Company

Durand

recital

to

and spent most of his

life

May

(i

881-1955) was

in France.

He

intro-

30, 1927, in a recital

(see p. 557).

on

May 30.

Maurice Ravel

Avenue Charles Floquet

June

12,

1927

Paris 7^

Dear

friend.

If you

have some errands to take care of in

Paris, try to

do them on June 30

(Thursday).

And on June

30,

come

to

lunch

Floquet, in complete privacy with

Yours very Paul I.

at my home at i o'clock, 3 Avenue Charles M. Edouard Herriot and his pipe.^

faithfully,

Morand

Morand (1888- 1976) was

a versatile author as well as a widely traveled diplomat.

In 10,32, he provided Ravel with three short texts,

out to be the composer's swan song.

The

texts

Don Quichotte a Dulcinee, which turned film, Don Quixote, directed

were part of a

by George Pabst, with the celebrated Russian basso Feodor Chaliapin in the tide

role.

28o

:

:

Correspondence

:

As Ravel was late in completing his score, the assignment was turned over to his younger

who

colleague Jacques Ibert,

hurriedly

composed the background music and

five

songs

for Chaliapin. 2.

An erudite political figure, Herriot (1872- 1957) also wrote a biography of Beetho-

ven. His pipe, like Neville Chamberlain's umbrella, was proverbial.

279. to

Henry Prunieres September

9 rue Tourasse

1927

7,

Saint-Jean-de-Luz

My dear Prunieres, I

was convinced

I

had

you that from August

told

i

on,

I

would be

in Saint-

Jean-de-Luz. Moreover, your

article.

it

seems

As

yourself to the

for

to

my

me

an "interview" format would add nothing

that

feelings about America,

strict truth:

If it would give pleasure to

would be

it

never having been there,

I

better to limit

would be happy to see

your readers, you may add that I

to

like jazz

it.

much more

than grand opera.

With regard

my

to

found the spare time

family tree,

to analyze

from a family of sailors, have been a fishermen.

like

it:

essence

its

is

so complex that

I

have never

my mother, who was born in Ciboure, came

almost

all

of the Basques on the coast. There must

of everything, from captains of trading vessels to simple

bit

Most of

these ancestors departed for "the Americas" and never

returned.

On my

father's side:

he was

subject, as the canton of Geneva

bom

in Versoix,

unable to give you any more precise information. less

and consequentiy a Swiss

was no longer part of France

of this information, and that your readers

I

hope

I am much

at that time.

that you will use

will find other points

of interest

in your article.^

Be

sure to send

me your article

before

published, and

will return

it

to

have to be in Amsterdam on October

i.

it is

I

you immediately.

Fm staying here until the With most

28th, as

I

cordial regards,

Maurice Ravel I.

If this article

was printed,

it

has yet to be traced.

Correspondence

Leon

280. to

:

281

:

:

Leyritz^

Rue Tourasse

[September 1927]

Saint-Jean-de-Luz

Dear

friend,

It's

month

already a

work, and above

prevented

all,

me from

since

you wrote

to

me. Some

letters arriving late, a bit

the pleasant idleness induced by

replying earlier to your charming

my

of

native region have

letter.

news about my Siamese cats, and about my bust. (If you me a photo of it before my departure, I would be very happy to show those friends whom IVe interested in seeing it.)

Thanks

for the

could send it

to all

I'm leaving Saint-Jean on the 26th in the morning, Paris before going to I

trust that

visible

Amsterdam,^ and

you are

in a region

vrill

finally

where the sun

will stay only a

return is

few days in

home on October

thriving

—

here,

it is

4.

less

than usual.

My kind regards

to

Madame

Leyritz,

and very

cordially yours,

Maurice Ravel 1.

The French

soon

after

sculptor (i 888-1976)

met Ravel

at the

home of Marcelle

Gerar, and

expressed interest in making a bust of the composer. Ravel agreed, on

condition that he never pose.

When

portrait!" (Leyritz's stone bust

the bust was finished, he remarked, "It's

of Ravel

is

in the Paris

Opera; see plate

my best

12.) In 1935,

thanks to the behind-the-scenes generosity of Ida Rubinstein, Leyritz traveled with

Ravel to Spain and North Africa (see letters 338 and 339). 2.

For a

sioned

all

recital

of chamber music sponsored by Mrs. Coolidge,

of the works on the program.

Madeleine Grey, with Marcel Moyse the piano.

The

(flute),

who had commis-

Chansons madecasses were performed by

Hans Kindler

The program also included works by N. T.

(cello),

and the composer at

Berezowski, Francesco Malipiero,

and Gabriel Pieme.

281. to Ernest Ansermet

Le Belvedere

October

Montfort I'Amaury

Dear

(S.

&

letter arrived this

minute, via Montfort, St.-Jean-de-Luz, the hotel

d'Athenes, and Montfort. In another fifteen minutes,

It's

1927

friend,

Your

Paris,

15,

O.)

which

is

what I'm about

it

would have returned

to

to do. Therefore, please excuse this hasty reply.

impossible to perform the entire work without a pause. ^ You could

present most of

it

by linking separate numbers. Decide for yourself which

pieces can do vrithout scenic gestures.

With regard

to the ist suite, the a

282

:

Correspondence

:

:

cappella choral part is orchestrated. It's a makeshift arrangement,

believe

A

it

but

I still

preferable to an interruption.

concert performance of LTnfant} There too,

work, which

is

rather short in the theater,

I

would be

afraid that this

would appear very long without

movement, or rather without the kaleidoscopic succession of animated movement. You can always try

Excuse me: the

.

.

.

Very cordial regards

train's official timetable doesn't wait.^

from your

Maurice Ravel I'm leaving toward the end of November for the United States.

Meaning a concert performance ofDaphnis et Chloe. A humorous reference to Torquemada's concluding

1.

2.

scene two ofL'Heure

line in

espagnole: "the official timetable doesn't wait."

282. to Mrs. Louise Alvar 14 Holland Park

October 27, 1927

London, W.ii

Dear

friend,

come

sincerely regret having

I

to

London during your

absence. There was

no way to postpone the recording sessions: the date which ^

had

to

I

selected, the i8th,

be changed because of the Pleyel inauguration. ^ Moreover, I'm sup-

posed to be leaving

for the

United States

in

about two weeks.

I'm as pampered as anyone could be: even the cook, touched by the strictness of my

diet,

Nothing

adds a is

little

lacking

.

my

milk to .

.

tapioca in the morning!

except your presence.^ Will

I

have the pleasure of

seeing you before you return to London, either in Paris or Montfort.^ if not,

my

I

hope

so;

we will meet in "the other world," if you go there this winter, or else upon

return.

Transmit

my handshake

to

Jean-Aubry, and, dear friend, believe in the

sincere affection of yours truly,

Maurice Ravel 1.

In another letter to

would be coming

to

Madame

Alvar, dated

London toward

October

the end of the

14, 1927, Ravel

month

noted that he

in order to record for

Brunswick. These recordings, however, were apparendy never issued (unpublished

autograph in the Charles Alvar Harding Collection, on deposit

at the

Pierpont

Morgan

Library). 2.

Some

chouart.

of Ravel's earliest works were introduced

On

October

18, 1927, a

new

at Salle Pleyel, at

22 rue Roche-

name was presence of Raymond Poincare,

concert hall bearing the identical

inaugurated at 252 rue du faubourg St. Honore in the

Correspondence

and many other

the president of France,

dignitaries.

For

-.

\

283

:

this gala event, Philippe

Gaubert conducted the Orchestre du Conservatoire, sharing the podium with Ravel,

who conducted La Valse, and Stravinsky, who led the orchestra in the Firebird suite. The new hall held about 3000 people. 3.

Madame

Alvar was vacationing in France.

283. to Bernard R. Laberge^

November

Le Belvedere Montfort I'Amaury

(S.

&

11,

1927

O.)

Dear Mr. Laberge, In order to answer you, cable,

I

will

embark on December

Here are the she

Madame is

was waiting

for the letter

details

about the

Esther Dale^ told

A

you

artists

first

my "Weekend

under consideration:

She has performed Sheherazade

New York and Boston, and is making a special trip to Paris the I

have informed her that she must

directiy.

letter

from M. de Valmalete^ arrived

Saint-Jean-de-Luz. Through an oversight I

your

me in London, where I met her recentiy, that

day after tomorrow in order to sing it for me. write to

in

28.

highly regarded in the United States.

with orchestra in

II)

mentioned

and then the second one. As you have learned from

Letter,"

I)

I

it

just after

became aware of it only recentiy. He proposed

York with Nina Koshetz."^

I

my

departure from

was not forwarded, and therefore that

I

perform a

recital in

New

telephoned immediately to Valmalete and gave him

your address. III)

The same

reply to

music series in Boston. about

whom

I

Gaston Elcus, who would

like to

organize a chamber

He is the only one of these three artists that I know, and

can give an opinion: an excellent musician, he

vitzky's orchestra,

and together with several French colleagues

he has formed the following group: Elcus,

ist violin;

is

in

Kousse-

in the orchestra,

Mayer, 2nd

violin;

Lefranc, viola; Zighera, cello; Motte-Lacroix, piano.

Here

is

the definitive

list

of works to be programmed. Orchestra

Introduction et Allegro, for harp

Pavanepour une Infante

Le Tombeau de

and 6 instruments.

defunte.

Couperin.

Ma Mere rOye. "Prelude" and "Danse du rouet." (I'm quite sure that we didn't speak about this piece

when making up

placed at the beginning oi

the programs.

It

can be played separately or

Ma Mere VOye, of which

it is

the Introduction.)

284

:

:

Correspondence

:

Symphony

G Minor (Mozart).

in

"Sarabande" and Danse (Debussy, orchestrated by M. R.) Rapsodie espagnole.

Daphnis

et Chloe.

"Alborada del gracioso." Valses nobles et sentimentales.

La

Valse.

Be

sure to

I

will

let

me know which

orchestral material

will

I

be responsible

for.

prepare a brief talk for the concert in Cleveland.^

Don't forget about the very important matter of the tobacco;^ inquiries, let

me know

would be

if I

certain to find

Robert Schmitz has assured me,

States, or, as

it

if it

after

making

throughout the United

can be sent to

me from

France. Also, keep in

mind

In your next

letter,

have

my mail

the advance of 1000 dollars.

please include a complete itinerary, so

I

will

be able to

forwarded.

With best wishes, Maurice Ravel In rereading

my

piano pieces which

Menuet

letter, I I

will

noticed that

perform. Here

I

had forgotten

to include the

list

of

it is:

antique.

"Habanera." Pavane pour une Infante

defunte.

"Oiseaux

tristes" [Miroirs].

Sonatine

(3

movements).

Le Tombeau de Couperin (Prelude, Forlane, Menuet, Rigaudon). "La Vallee des cloches" [Miroirs]. Prelude.^

FTR' The Bogue-Laberge

1

concert

management

in

New York, and France's Association

Fran9aise d'Expansion et d'Echanges Artistiques handled Ravel's

North American

The American

2.

can

soprano.

She

later

3.

Marcel de Valmalete, the Parisian impresario.

4.

The

5.

Mozart's Fortieth Symphony; see

6.

See

7.

Ravel was a heavy smoker of Caporal cigarettes.

Russian mezzo-soprano (see

note

the technical matters of

performed with Ravel during

tour.

p. 49,

all

tour.

p. 568). p.

440, note

4.

3.

his

North Ameri-

Correspondence

A

8.

short, lyrical piano piece

composed

:

:

:

28s

1913 for the women's sight-reading

in

competition at the Conservatoire. 9.

The autograph

of this letter has not been traced.

private collection of Mrs.

A typewritten copy of it is in the

Monique Leduc.

284. Paul Paray^ to Maurice Ravel Concerts Lamoureux

November

16,

1927

Moncey

2 rue Paris

Dear I

Sir

and

friend,

Theodor Szanto and acknowledged

received Monsieur

you had asked him

to deliver.

imagine, would be eager, as

me

ble for that

I

read

it

to

program one of Monsieur Szanto's works

to

would be happy

I

Dear

Sir

my committee, which, as you can well

would, to obUge you. Unfortunately,

to say before Christmas. If things

is

date,

I

and

the letter which

to give

friend, believe

you

it is

impossi-

time he desires,

at the

can work out more agreeably

satisfaction.

at a later

^

me very truly yours,

Paul Paray 1.

The French conductor and composer Paul Paray (1886- 1979) studied at the won the Prix de Rome in 191 1 He later conducted the Lamoureux

Conservatoire and

.

Monte Carlo

Orchestra, the

Orchestra, and was the principal conductor of the Colonne

Orchestra and the Detroit Symphony. 2.

In a letter to

Theodor Szanto, written from Le Belvedere on December

(autograph in the Library of Congress), Ravel enclosed a copy of this

letter,

13,

1927

adding the

following explanation:

Dear I

friend,

thought

I

had communicated

this letter to

serum, pituitary and adrenal extracts, that

I

can embark

you a long time

must follow an energetic treatment

rather out of sorts and

at the

etc. [all

ago.

—

Excuse me: I'm

injections of cyto-

of these drugs are stimulants]

— so

end of the month.

Affectionate regards to you both,

Maurice Ravel

285. to

Henry Prunieres December

Le Belvedere Montfort I'Amaury

Dear

(S.

6,

1927

O.)

friend.

Please excuse me: the

&

I v^dll

not be able to accept your kind invitation, or attend

Schoenberg concert, or so many other gatherings ^

at

which

I

would have

286

:

:

Correspondence

:

been happy

my

to see

friends before departing.

diet,

am

in a state of extreme

and under doctor's orders,

fatigue (blood pressure: 110/50),

my prescribed

I

must abandon

I

overeat and rest in order to be in condition to embark on

the 28th.

Please convey

my

apologies to

Madame

Prunieres, and kindest regards to

you both,

Maurice Ravel See

I.

letter no. 165,

note

2.

286. to Cipa and Ida Godebski

Le Belvedere Tel.: 89.

Dear I

am

December

Montfort I'Amaury

(S.

&

14,

1927

O.)

old friends,

hope you won't let me depart from the old world without saying good-bye. inviting

I

you Friday evening ,

had requested

jackets,

I

at 8 o'clock.

but as everyone insisted on tuxedos, we'll have to

dress up. Affectionate regards,

Maurice Ravel

287. Darius Milhaud to Maurice Ravel 10 Boulevard de Clichy

[late

December 1927]

[Paris]

My dear friend, I

sincerely regretted not being able to attend the Chantecler^ banquet in your

honor, but in addition to the premiere of Le Pauvre Matelot, ^

I

had

to

be

at

Madame Janacopulos' recital, in which I accompanied my Hebraic songs at the beginning of the program.^ I

trust that

pathy that I

I

would

sincerely

much, and

your health

I

hope

is

improving.

like to see all

that

I

have such great confidence in homeo-

of my friends adopt

your concert tour

in

it!

America won't

fatigue

you too

wish you bon voyage and a happy new year, because 1928

is

approaching!

Very cordially yours,

Milhaud 1.

A Parisian weekly devoted to the

2.

Milhaud's opera, based on the

Opera-Comique on December

arts.

libretto

16, 1927.

by Jean Cocteau, was introduced

at the

Correspondence

3.

:

:

287

:

The remainder of Madame Vera Janacopulos' recital at Salle Gaveau on December

16 consisted of songs by Honegger and Stravinsky. Milhaud's six Chants populaires hebrdiques

were published by Heugel

in 1925.

288. to Nelly and Maurice Delage

December

aboard the "France"

Happy new which

hardly

is

quartet,

year, dear old friends, level: jazz,

drunk Americans

We

31, 1927

are supping joyously in a dance hall

paper streamers, balloons, champagne, a Russian

—

all

the local color of Montmartre.

January

We

are supposed to drop anchor tonight

3,

1928

and disembark tomorrow. The

crossing has been very pleasant until now.

A photo of my studio is on the other side. in and Pm hardly abusing

work

.

.

I

have an entire "de luxe suite" to

it.

.

Affectionate regards,

Maurice Ravel

289. to Roland-Manuel aboard the "France"

Dear

January

3,

1928

friend.

We arrive in New York tomorrow. I'm quite sure there has never been a more pleasant crossing at this time of year. Write to me and don't forget the lecture^

Suite

1

—

—

c/o Bogue-Laberge, 130 West 42nd

at the following address:

20 1,

St.,

New York.

Affectionate regards to

all,

Maurice Ravel I.

"Contemporary Music"; see part

i.

290. to Edouard Ravel

The Copley-Plaza

January 13, 1928

Boston, Massachusetts

My dear little If

now,

I

Edouard,

return to Europe

I've survived,

worst.

As soon

as

and

we

boat, with cameras,

alive,

it

will

prove that

my manager

assures

arrived in the harbor, a

I

me

am

long-lived! In short, until

that

I

have gone through the

swarm of journalists invaded

movie cameras, and cartoonists.

I

had

to leave

them

the

for a

288

:

:

Correspondence

:

moment

in order to see

splendid

all

our entry into the port:

it

was even a

bit too late,

but

the same.

wasn't even able to practice the piano a litde during my stay in New York (4 days which seemed like 4 months). As soon as I settled down at the Langdon I

Hotel, a litde nothing of a hotel which has only

1

2 stories

was on the

(I

8th),

and

delightfully comfortable (an entire apartment), the telephone didn't stop ring-

me

Every minute they would bring

ing.

baskets of flowers, and of the most

delicious fruits in the world. Rehearsals, teams of journalists (photographs,

movies, caricaturists) reUeving one another every hour,

my manager replies for me, receptions.

which

Negro

halls,

theaters, gigantic

letters, invitations to

In the evening, relaxation: dance

movie houses,

etc. I

hardly

know New York by

cooped up in taxis in order to go to appointments of all sorts. I was even in a

day, film,

with make-up 2 centimeters thick

Symphony played

the Boston

in

New

^l

was forgetting the concert which

my

York, devoted to

works.

I

had

to

appear on stage: a standing audience of 3500; a tremendous ovation, climaxed

by whistling. Sunday evening, a private concert and a gallop in evening dress for the train to Boston.

January 14, 1928 I

continue:

I

have been relatively undisturbed here during the day between

orchestral rehearsals (a marvelous orchestra).

The day

before yesterday a

concert at Cambridge, yesterday at Boston: a triumph (they thought

EngHsh!) Koussevitzky told tor.

.

.

doing

.

When

it

I

think that

I

me

that

had

to

I

was the greatest

New

again tonight, returning immediately to I

will

I

looked

French conduc-

conduct the Rapsodie espagnole

concert,^ setting out again for Chicago where

there

living

at sight!

York for tomorrow's

remain a few days, and from

on to Texas. Several free moments have enabled me to write to you:

no receptions.^ Those

at

Cambridge and Boston were

one given by Mrs. Thomas Edison in "^

before

me

New York:

I'm

less exhausting

2 or 3

speaking English, and more often French

today,

than the

hundred persons

(it's

filing

amazing how many

people speak our language here).

As in New York,

in the evening, relaxation:

dance

halls,

Chinese

theater, etc.

Attached are several clippings. Keep them. Affectionate regards to I

all.

embrace you,

Maurice^ 1

This film has not been recovered.

On

the other hand, Alexander Steinert took

some extraordinary home movies which have been preserved. These silent films include footage of the Godebski family, Arthur Rubinstein, Vladimir Horowitz, and Ravel at Le Belvedere. (Copies of these films are in the private collection of the author.) 2.

This

recital

was devoted

to

chamber music. The program included

Quartet, the Sonatine, the Introduction

et Allegro,

and the Sonata

for Violin

the String

and Piano.

Correspondence

The Sonata was performed by Joseph

Szigeti,

who made

:

28g

:

:

the following perceptive

observation:

Ravel was somewhat nonchalant about his piano-playing; "unconcerned" might better describe his attitude.

mined

we

play

down,

at

a

it

in

its

Attached,

3.

It

was the confidence of the

his stand with respect to littie

and

ed.,

New York,

Following the January

1

task. It

that

is all

request,

creative artist that deter-

as if he said:

"What of it, whether

brilliant fashion.?

The work

is

set

that really matters." (Szigeti, With Strings

Knopf, 1967,

p. 139.)

New York, a reception was held in Ravel's honor

5 recital in

Among the

an exclusive Madison Avenue apartment.

Kreisler,

was

poHshed and

better, or in a less

definitive form,

id

our

guests were Mr. and Mrs. Fritz

Mr. and Mrs. Edgard Varese, Bela Bartok, and George Gershwin. At Ravel's

Negro

presented a program of interpretive dancing and Negro spirituals

artists

"M. Ravel Honored

(see the unsigned article,

at

Large Reception," in the

New

York

Times, January 16, 1928). 4. 5.

The wife of the famous The autograph of this

inventor. letter is

reproduced in Orenstein, "Some UnpubHshed

Music and Letters by Maurice Ravel,"

pp.

333-34.

291. to Edouard Ravel

New York to

from

Chicago

January 16, 1928

My dear little Edouard, I'm writing this in the club car of the express train to Chicago. Left less

New York at 2:45 The

than 20 hours.

and

p.m.

concert in

I

arrive

tomorrow

at 9:45 a.m.

—

just

New York went well. Flattering reviews, at New York didn't write

times an entire page.^ Only the French newspaper in

about me. Affectionate regards to

all,

Maurice It

was

like

spring in

New York,

as in Boston.

Now

there

is

snow along

the

way. I.

Writing in the

New

on January

York Times

16, the noted critic Olin

Downes

commented: Nothing could have been more this

music than the

who bore

typical

of the precision, economy and refinement of

slight, aristocratic,

gray-haired and self-contained

gendeman

himself with such simpHcity on the platform; presenting his music with a

characteristic reticence

and modesty; well content, as

it

were, to give an accounting

of what he had done, and to leave his listeners to their indeed, his achievement speaks for

Never to have composed

in

own

conclusions. And,

itself.

undue

haste; never to have offered the public a piece

of unfinished work; to have experienced Hfe as an observant and keenly interested beholder, and to have fashioned certain of its elements into exquisite shapes of art

2go

:

that

:

:

Correspondence

embody

the essence of certam French traditions,

Mr. Ravel has pursued

his

way as an

He

superficial or meretricious success.

The

artist quietly

is

a goal worth the gaining.

and very well.

has been his

He has disdained

own most unsparing

critic.

man and

audience was appreciative of the opportunity to welcome the

the

composer.

292. to

Rene

Polain?*

San Francisco Overland Limited Chicago

Union

January 30, 1928

& North Western Ry.

Pacific

Southern

System Lines

Pacific

My dear friend, Since arriving in the United States, write.

I

this is the first opportunity I

your colleagues, to

tell

them of my

joy in hearing

such perfection by an orchestra which

my works

performed with

righdy considered to be the world's

and whose conscientiousness in capturing the

finest,

me

is

have had to

my spokesman to

hasten to take advantage of it in order to ask you to be

spirit

of my music touched

profoundly.

This beautiful performance, lic's

to a large extent,

was responsible

unforgettable reception both in Boston and Cambridge;

my deep

of you for being unable to express

I

for the

pub-

apologize to

all

gratitude sooner.

Maurice Ravel I.

This

of the Ravel.

letter

and the following one may have been written section of the Boston

first violin

The second

letter,

which seems

to

Rene

Rene as

Chicago

Polain?^

I

January 30, 1928

& North Western Ry.

Pacific

Southern

And

member

first letter.

San Francisco Overland Limited

Union

Polain, a

an interpreter for

be an extended afterthought, begins with a

note of personal thanks, which Ravel had omitted in the

293. to

to

Symphony, who had acted

System

Pacific

Lines

personally vidsh to thank the kind Mentor, fortunately less severe than

the original one,^

who helped me

so

much to

appreciate the

charm of Boston.

Everything went well in Chicago and Cleveland; here, the orchestra's task

was

particularly difficult: the

program was completely unknovm

to

most of the

musicians. I

raced through

La

Valse in

4th gear.

The

Valses nobles [et sentimentales]

Correspondence

sounded

and you know that

perfect,

interpret. In this regard,

Fm writing directly to

which saved the

his kindness,

one of

it is

day.

my most

:

:

difficult

297

:

works

was

trust that his orchestral material

I

to

Koussevitzky to thank him for

returned promptly.

hope, once again in America.

See you soon

in France, perhaps,

Don't forget

to telephone Paris first:

number 89

I

Gutenberg 0-28, before requesting

in Montfort.^

My dear friend, beHeve me very cordially yours, Maurice Ravel 1.

See the preceding

letter.

Mentor was the friend of Odysseus. The name passed into common usage after being popularized in Fenelon's LesAuentures de Telemaque (i 699), in In Greek legend,

2.

which Mentor 3.

The

is

portrayed as the wise counselor of Odysseus' son Telemachus.

telephone numbers, respectively, of the Hotel d'Athenes and

Le

Belvedere.

294. to Edouard Ravel Los Angeles Biltmore

February

7,

1928

Los Angeles this hole represents

My dear Httle Edouard, now it's like large city in full bloom, with flowers tall

palm

trees

which grow here

summer: 95 degrees.

.

.

.

The

trip

from San Francisco

to

in France,

who

fortunately speaks

Los Angeles was very pleasant, and

spent it almost entirely on the rear platform: eucalyptus forests,

might be taken for oaks, but which are in

which are rocky or magnificently green. back in the cold weather. except you.

A

Tomorrow night,

pile

tall

fact hoUies; variegated

It's

a

and

Took an excursion to Hollywood,

the film capital. Various stars: Douglas Fairbanks,

French.*

A brilliant sun;

which grow in greenhouses

naturally.

my room^

annoying to think that

of letters awaited

me

trees

I

which

mountains, I'll

soon be

here: everyone wrote

a concert.^ In the afternoon, I'm going to visit the

lion factory for the movies.^

Affectionate regards to *I

was supposed

to

I

all.

embrace you

Maurice

have lunch with CharUe Chaplin, but

would be any more amusing

for

him than

for

I

didn't think

it

me: he doesn't know a word of

French. 1.

The

face of this postcard

shows the Los Angeles Biltmore Hotel. Ravel must have

enjoyed pointing out that his room was close to the top of this imposing skyscraper. 2.

On

February

8,

1928, the Los Angeles chapter of Pro-Musica presented an

Ravel program in the Biltmore Hotel Ballroom.

The program was

as follows:

all-

2g2

:

i)

:

Correspondence

:

Sonata for Violin and Piano, performed by Calmon Luboviski and the

composer (following prolonged applause, the "Blues" movement was repeated). 2)

Sheherazade (complete), sung by the young American soprano Lisa Roma,

accompanied by Ravel. 3) Sonatine,

performed by the composer.

4) Histoires naturelles (complete), Lisa 5)

Pavanepour une Infante

6) Introduaion et Allegro,

Ravel.

conducted by Ravel, with Alfred Kastner

Luboviski Quartet, Jay Plowe 3.

Roma and

"Habanera," performed by the composer.

defunte,

(flute),

and Pierre Perrier

(harp), the

(clarinet).

A humorous reference to the Metro-Goldwyn-Mayer studios, Hollywood's "Home

of the Stars," whose trademark was a roaring

lion.

295. to Helene Jourdan-Morhange Southern

Dear

February 10, 1928

Lines

Pacific

friend,

Thanks

to

Mme Schmitz,

I

received your letter in Los Angeles

— 95

and hothouse plants lining the avenues. You

degrees,

palm

received

my letter or letters, I no longer remember; but how my address.^ Edouard promised me to give it to you.

trees,

—

to

still

is it

104

hadn't

that

you

didn't have

Another night on the there were 3), and

I

train (that

makes two; from Chicago

will arrive in Seattle,

neapoUs, and back for the 3rd time to

New

to

San

Fraiicisco

then Portland, Vancouver, MinYork, where I'm really afraid of

finding cold weather. I

am

seeing magnificent cities and enchanting regions, but the triumphs are

Los Angeles,

exhausting. In

I

slipped away from the people; besides,

I

was

dying of hunger.

Do write

again.

Affectionate regards,

Maurice Ravel I

hope

that

my brother is

still alive: till

now,

I

have received only one cable

from him.

296. to Edouard Ravel

Union

Pacific

February 21, 1928

System

The Overland Route from Denver

to

Left Denver

Minneapolis last

Omaha soon (at 3

evening.

Had

a good night: slept 9 hours.

o'clock) in order to

change

trains.

We

arrive in

Will leave tonight about 10

Correspondence

heard Omaha's

o'clock, after having

Denver, a

The

city situated at

Affectionate regards to

famous.

is

I

weather

in

It

2gj

:

:

spent 3 days in

an altitude of 1600 meters^ (gold and

very pure. Always bright sunshine.

air is

overcast. I'm afraid of finding cold

I

which

jazz,

:

looks like

silver mines).

becoming

it's

New York next week.

all.

embrace you,

Maurice About 5,250

I.

feet.

297. to Nadia Boulanger^

The

March

Biltmore

8,

1928

New York Dear

friend.

There

a musician here

is

endowed with the most brilliant, most enchanting, talent: George Gershwin.^

and perhaps the most profound

His world-wide success no longer

knows

that

satisfies

him, for he

is

aiming higher.

He

to achieve his goal. In teaching

him

wouldn't dare have, to undertake

this

he lacks the technical means

those means, one might ruin his talent.

Would you have awesome I

the courage, which

I

responsibility?^

expect to return

home

in early

May, and

will

come

to see

you in order

to

discuss this matter. In the meantime,

send you

I

my most cordial

regards.

Maurice Ravel Mile Boulanger (1887- 1979) received her training at the Conservatoire (18971904), where she met Ravel. She went on to enjoy a distinguished career as a teacher of 1.

composition, and as a lecturer and conductor. the leading

Berkeley, Elliott Carter, Piston, to 2.

A list of her pupils would include many of

American and European composers of the twentieth century:

name but

Lennox

a few.

Ravel and Gershwin (1898- 1937) met on several occasions in

Tansman

In a conversation with this writer, Alexandre preter when they spent

New York in

1928'.

recalled acting as their inter-

some evenings together listening to jazz in Harlem.

1928, the mezzo-soprano Eva Gautier (1885- 1958) gave a dinner party in

honor of Ravel's 53rd birthday. She recalled the evening as

The menu

Sir

Aaron Copland, David Diamond, Jean FrangaLx, and Walter

On March 7, New York in

follows:

consisted of all the things he liked to eat, and especially plenty of red

meat, which he loved his complaint

was

—he

that

all

was one of the honored

really preferred

it

raw

to the point

meats here were overcooked.

guests, since Ravel

of being purple

—

as

The late George Gershwin

had expressed a great desire

to

meet

2g4

:

:

Correspondence

:

him and hear him

"Rhapsody

play the

memorable evening. George feats in

"The Man

in Blue,"

I

Love,"

etc. It

was a

that night surpassed himself, achieving astounding

rhythmic intricacies, so that even Ravel was dumfounded. George was very

keen to study with Ravel, but the Frenchman's answer was that "you might lose that great melodic spontaneity

New

Ravel,"

3.

and vmte bad Ravel." ("Reminiscences of Maurice

York Times, January i6, 1938.)

Gershwin would continue

and Wallingford Riegger, and

his studies with the

Madame Femand

298. to

American composers Henry Cowell

also with the theorist

and composer Joseph

Schillinger.

Dreyfus

Crescent Limited

Pennsylvania Railroad

New York. New Orleans

Southern Railway

April 4, 1928

West Point Route

& Nashville

Louisville

En Route

R.R.

(sic)

My dear marraine, Your

letter

Monday,

I

was

for 5 hours. will arrive

me

in Boston,

Now it's

in

New York,

where

I

time for the

"Pompano en if you knew what

taste the

wines (why yes

.

.

.

where

on the

train.

From

there,

concerts (from Houston to the

and go

midnight

And

I

(I

I

have

on

New

to

New York

Orleans, where

to cast a tender glance at this old

papillotes," ^

prohibition

I

French

washed dovm with French

is!). I

leave there at night for

Gulf of Mexico. Thus, 3 the Grand Canyon: 2 days of rest; no

to

trip to the

Grand Canyon,

New

and

arrive at 10:30 p.m.)

won't be dead

this crazy tour.

Returned

leg:

On

2 nights).

Then I leave Arizona

New York, New York for embarkation on the "Paris" which leaves at

directly to Buffalo

Montreal, and back to

spent 3 days once again.

concluding

Houston: 2 concerts,^ and an automobile nights

I

slept in a stable bed. little

tomorrow morning, merely

and

colony,

reached

tired: as

finally

York

on the

(4 nights this time).

21st.

you know,

I

have never

discovered the reason:

it's

felt

better than during

because

I

have never led

such a rational existence.

You

forgot to

tell

me

about your health. Don't bother to do so now: your

my departure. I'll check up on you in person. The weather was very lovely in New York and Boston; but upon awakening

letter

this

arrive after

morning,

I

found myself in the midst of spring (up north, the flowers bloom

my compartment, I could only survive my shirtsleeves, with all of the ventilators open and the fan in high position. It

later)

in

would

and

in the heat of midsummer. In

was hardly any cooler on the rear

terrace.

What vdll happen

in Texas.''

Correspondence

It's

almost

back to

I

i:oo p.m., and the club car

my compartment,

at the other

is

:

:

:

2g^

beginning to empty out. I'm going

end of the

train.

See you soon, and kind regards from your

Maurice Ravel 1.

That

aluminum

is,

a fish cooked and served in a wrapping of buttered parchment paper or

foil

New Orleans in

(cooking fish in paper bags appears to have originated in

the early 1900s). 2.

See Ravel: Man and Musician, plates 13 and

14.

299. to Cipa Godebski

The

California Limited

April 14, 1928

Santa Fe

From

the

Grand Canyon

to Buflfalo

10 days of excursions, with 6 nights spent in the train

Wisely obeying the text below,

Canyon: you have ^

Montreal

is

to see

it.

I

will

—

it

was worth

it.

not attempt to describe the Grand

Only 7 more days and I'm off (unless the train from

blocked by snow for an hour and a half).

See you soon, old chap. Affectionate regards to

all,

Maurice Ravel I.

the

The text of this picture postcard of the Grand Canyon reads: "The

Grand Canyon

silence

seems

300. to

are altogether

uncommunicable by brush or pen.

finest effects at .

.

.

Here even

have dimension and color."

to

Madame

Isaac Albeniz

9 rue Tourasse

June 27, 1928

St.-Jean-de-Luz

(Lower Pyrenees)

Dear Madame, Ida Rubinstein has asked

me

to orchestrate 6 pieces

from IberiwJ "El

Puerto," "Fete-Dieu a Seville," "Rondefia," "Triana," "El Albaicin," and "El Polo."

However,

I

have just learned that most of these pieces have already been

orchestrated by Arbos,^ and refuse the authorization

Nevertheless,

I

I

I

must

would be

have every reason to believe that you would seek,

which

I

would

grateful for a reply as

find legitimate.^

soon as possible, whether

2g6

:

:

Correspondence

:

favorable or not, as these pieces have

been selected to be danced at the Opera at

the beginning of next season.

With kind

regards, dear

Madame,

believe

me very truly yours,

Maurice Ravel Isaac Albeniz (i860- 1909)

1

from 1906

Iberia

and in

is

remembered

largely

worked on the twelve piano pieces comprising his

until shortly before his death.

for his brilliant

suite

A virtuoso pianist, he concertized widely

keyboard works. After studying composition

Spain with Felipe Pedrell, he moved to Paris in 1893, where he met Ravel and was

influenced by Vincent d'Indy and Paul Dukas.

The Spanish violinist,

2.

conductor, and composer Enrique Arbos (1863 -193 9) was

a close friend of Albeniz.

Copyright law forbade anyone else from transcribing the pieces that Arbos had

3.

Upon

orchestrated.

nounce

learning about Ravel's predicament, he graciously offered to re-

orchestrate one of his

Mme

But now Ravel changed

his exclusive copyright.

Rubinstein,

own

initially

his

mind and decided

to

compositions. Finally, he composed an original work for

entided "Fandango."

The

tide

was

later

changed to

Bolero.

301. to Robert Casadesus

Le Belvedere Montfort FAmaury

August (S.

&

10,

1928

O.)

My dear friend, I

could just as well have replied sooner: the beginning of this season, which

so complicated for me, is

that at the

is still

far

end of November

from being setded. I

vdll

be in Spain, ^ and simultaneously

Opera, where Ida Rubinstein will present La

which perhaps will be

finished. ^

Note

Valse

that in the

is

The only thing Fm sure of at the

and "Fandango," a new work

2nd half of October,

I

have to

go to Oxford in order to receive the tide of "Doctor of Music honoris causa,"^

and

management of Bordeaux's Grand Theatre is honoring the 3 viceits afternoon chamber music recitals in

that the

presidents of the S.M.I."^ with one of

December.^

Can you

figure this out better than

I

can.?

Very cordially yours,

Maurice Ravel I

was

forgetting certain concerts in Holland,

whose dates have not yet been

determined. 1

Setting out on

violinist 2.

November

6,

Claude Levy, appearing

The new

troupe on

Ravel concertized in Spain with Madeleine Grey and in nine cities in just over

work. Bolero, was introduced

November

at the Paris

two weeks.

Opera by

Mme

22, 1928, with Walther Straram conducting, decor

Rubinstein's

and costumes

Correspondence

:

:

:

by Alexandre Benois, and choreography by Bronislava Nijinska. In addition to La

program

the

also included

2gj

Valse,

music of Bach transcribed by Honegger, and works by

Schubert and Liszt orchestrated by Milhaud. 3.

On

October 23, 1928, Ravel appeared in academic garb

at

Oxford University,

which conferred upon him the degree of Doctor of Music. Speaking in Latin, the public orator

compared

Pan

that

et

Chloeas a "charming

not dead, and that even

is

worthy of Parrhasius," and referred

his achievements to "colors

composer ofDaphnis

artist,

now Mount Helicon

ceremony, the guest of honor conducted

is

all

to the

cultured people

green." Following the

the Introduction etAllegro before a large outdoor

program given

gathering, as part of an all-Ravel

who persuades

in front of the

The two other vice-presidents were Leo The chamber music recital in Bordeaux was

Town

Hall.

Sachs and Florent Schmitt.

4. 5.

organized by pianist Paul Loyonnet,

who performed Gaspard de la nuit, and, with the Calvet Quartet, Florent Schmitt's Quintet (opus 51). The vocal works included five songs by Leo Sachs and the Chansons madecasses, with Madeleine Grey, M. Bergeon (flute), Paul Mas (cello), and Ravel at the piano.

302. Jacques

Durand

to

Maurice Ravel

Durand & Son, Publishers Durand & Company

August

A.

4 Place de

la

13,

1928

Madeleine

Paris (VIII)

My dear Maurice, won't hide the fact that your

I

you

to see

tied

You wrote it

gave

letter

down with "recomposing"

we must have your work

—

I

was a bit sad

"Fandango" of your own

that you are occupied with a

in advance, while blessing Arbos! But,

because

me great pleasure

the music of Albeniz!

you

will

have to work

—

I

applaud

at top speed,

(piano and orchestral score ) by October

1

5 at

some excerpts before then, if you can. I received your letter upon arriving at the office this morning, and one hour later, the secretary of Mme Ida Rubinstein was shown in. We had a long chat, and I presented your terms. She seemed a bit upset, but she will transmit them to Mme Rubinstein, who is in Palermo.

the very latest, and

For La

would

made

Valse,

which advantageously

like to see

it

the terms ultrasweet for

For "Fandango,"

and

I

forfeit

for

is

already well known,

I

realized that you

presented in accordance with your ideas, and therefore

it's

Mme Rubinstein. there

is

—which

a restriction for 3 years in the theater,

is

considerable.

diflferent:

year in the concert hall

I

therefore requested a

of twenty-five thousand francs from which you will receive your share

performances abroad.

,

2g8

:

:

The of

.

.

Correspondence

:

secretary complained loudly, pointing to the case of Stravinsky!

.

Both had received only a

Honegger and

of 3000 francs, plus

from eventual performances.

royalties

Knowing

the

whims of this celebrated

patient, rather than hasty.

So now,

let's

I

assume

artist as I do, it will

that she

is

my

be better

to

be

going to give you a bonus.

await future developments, and, above

Very fond regards, J.

sum

fixed

all,

your manuscript.

dear Maurice, from your old friend,

Durand

303. to Roland-Manuel

Le Belvedere Montfort TAmaury

October

&

(S.

This, dear friend,

is

4,

1928

O.)

what

I

wish to speak to you about on the telephone

Friday, at lunchtime. I

would be pleased

where

have

if

you could accompany

me

to the

made an appointment for Saturday at 2:30

AeoHan Company,

p.m., after

which

I

will

return to complete a "Bolero," using the same material that you assured

me

I

Prokofiev employed in Le Pas

d'acier.

^

Affectionate regards,

Maurice Ravel

Whether M. Dubois^ Hkes

it

or not, the interview format vdll have to be

adopted. 1.

Prokofiev's ballet, The Steel Leap, completed in 1925,

Ballet

Russe on June

bing, ostinato 2.

See

was introduced in Paris by the

7, 1927. Roland-Manuel was apparently referring to the throb-

rhythm found

in the part entided "Fabrika"

(The

Factory).

p. 29.

304. to Marcelle Gerar

Le Belvedere Montfort FAmaury

Dear

October 29, 1928 (S.

&

O.)

friend.

Occupied with reexamining the Bolero

Sunday and immediately

sat

American virtuosity. Thus, will

dovm

if you

at the

Saturday night,

I

returned

piano in order to try to recapture

my

want to have the composer's approbation, you

have to postpone your recording until

It's all

until

right for the ahs! in the Fire's

add (spoken): "and you understand

my return

aria .^

— from November 28

You won't be the

me perfecdy well

.

.

.".

first.

on. ^

But don't

For the coda, look

at

Correspondence

the aria published separately,

Why no,

the

on « and

isn't

trill

Notre

be given

will

know

^^^^

i

^:

:

means

:

2gg

:

Durand's shop upon

^^ ^^^

,

with the

trill

that.^

end of the month. In the meantime,

Dame

at

^.^-^^^

lower neighbor. Didn't you Till the

which you

my behalf.

going there on

:

I

candle for you at

will light a

del Pilar,^ will climb the steps of Saint Jacques of Compostela

my knees, and will

drink a glass of port"^ to your health in

its

on

country of origin.

Affectionate regards,

Maurice Ravel 1.

See

2.

In UEnfant

p.

563. et les sortileges.

Mme

Gerar wanted

some quick breaths

to take

long phrases at the end of the aria (Durand piano vocal score, pp. 28-29). question, about the 3.

trill,

In Zaragoza, Spain.

relates to the

The

in the

H^r second

same passage.

cathedral

is

named

for the Virgin of the Pillar, the patron

of Spain. 4.

This wine originated

1928 tour in Spain

was

in

Oporto

(Portugal),

hence

its

name. Ravel's November

originally included several cities in Portugal,

but

this part

of the

trip

later canceled.

305. to Roger

Haour December

Le Belvedere Montfort I'Amaury

Dear Chicky,

(S.

&

4,

1928

O.)

^

Upon returning from Spain, I found your chicken scratch.^ I brought back a whopping cold from It is

there, caught

true, as Pierrette says, that

finished the Bolero,

on October

under the coconut palms of Malaga. I

am

the biggest idiot around, but, since

1 5 precisely,

I

exchanging a toga for a cape,^ and a pull-over for a tuxedo, car, in

order to arrive just in time for the

excellent performance, but picturesque, I

final

write to

wake up and gorge ourselves

me

tomorrow

— an

—between two hangovers.

afterwards. O.K.? If you wish to reply,

here; your letter will be forwarded: I'm leaving the day after

for

Jean-de-Luz

ballet"^

which wasn't appropriate.

Hotel d'Athenes (21 rue d'Athenes) about noon. We'll have a

to the

cocktail to

this in a sleeping

performance of my

can only see December 3 1 for us to get together

Come

I

haven't stopped running around,

Geneva

(jury of the I.S.C.M.).^

to relax for 5 or 6 days.

Affectionate pecks and hugs^ to both of you.

Maurice Ravel

From

there,

I

will

go to Saint-

joo

:

:

Correspondence

:

Literally,

1

"Dear Fowl." This unusual letter contains puns,

defying vulgarity, and bubbling good 2.

In the French, "poulet,"

3.

A

literally

playful description of going

bullfight (Spain; Ravel uses the 4. Bolero, as

See

5.

translation-

a chicken, colloquially a

letter.

from academic garb (Oxford)

Spanish word "capa"

— "a

to the land of the

cape").

interpreted by Ida Rubinstein's troupe.

letter no.

6. Literally,

some

slang,

spirits.

214, note

"pops on the

i.

kisser."

306. Bela Bartok to Maurice Ravel

Rome

March

Dear Monsieur Allow

15,

1929

Ravel,

me to present Mr. Zoltan Szekely, a young violinist who is absolutely He plays all of your works for the violin, and would like to play them ^

first-rate.

for

you and have your advice with regard

to their interpretation.

Very cordially

yours,

Bela Bartok I

The noted Hungarian violinist (b.

.

1903) frequentiy performed Bartok's music with

the composer at the piano.

307. to Marcelle Gerar

May

Le Belvedere Montfort TAmaury

Dear

&

(S.

13,

1929

O.)

friend,

Did

Leyritz deliver your message? In such a

But here's the

situation:

taking time oflfto sleep

I

—

had I

to

moving way

that

I

shed

tears!

remain in Paris the entire week without even

caught up

last night:

1 1

hours straight

—

And it's starting again this week: on Wednesday, the dress rehearsal of works by Ibert and Roland-Manuel. ^ Thursday, to come.^ It

may be

the only

have 10

tickets:

don't publicize

I

way

take two of them, one for you

I

conduct the

Bolero.

^

Would you like

for us to meet. it!

You need only pass by rue d'Athenes and

and the other

for Leyritz.

Or else, drop me a note at the Hotel d'Athenes:

I

will arrive there

Wednesday

morning. AflTectionate regards,

Maurice Ravel I

.

The works performed at the Opera on May 1 5 were Persee etAndromede, an opera in Ibert, libretto by M. Nino, based on the "Moralites legendaires" by

two acts by Jacques

Jules Laforgue, and Roland-Manuel's hzWet L'Ecran des jeunes filles, based on a scenario

Correspondence

:

:

:

by Jacques Dresa. (M. Nino was the pen name of Michel Veber, who was Jacques

joi

Ibert's

brother-in-law.) 2.

Ravel conducted the Straram Orchestra (see

p. 588).

308. to Serge Koussevitzky

MONTFORT L'AMAURY JULY 2, 1 929 I WAS HOPING TO BE ABLE TO COME HONOR THE FRIEND & THANK THE GREAT ARTIST TO WHOM MODERN MUSIC OWES SO MUCH. IMPOSSIBLE. URGENT WORK. SEND YOU PROFOUND REGRETS & GREAT AFFECTION. RAVEL I.

This telegram was sent

to the Restaurant

Laurent

in Paris,

where a

marked the conclusion of Koussevitzky's European engagements and the United States. Ravel's "urgent

work" was

gala soiree

his departure for

chiefly the piano concerto for the left

hand.

309. to Marie Gaudin

Le Belvedere Tel.: 89.

August

Montfort TAmaury

(S.

&

19,

1929

O.)

Dear Marie, This time, didn't send recall that

I

do believe that

you greetings I

considering

situation,

you who owe

me

a letter. ...

true that

I

your Saint's day,^ and while I'm thinking of it,

I

Mme

also forgot

my

for

it's

Bonnet,

whom

I

It is

saw yesterday. But

one has to be indulgent:

I

am

after

all,

gestating a concerto

(I'm at the vomiting stage).

You probably know that we will see each other soon: the posters by Foujita^ must have aimounced the grand ITR festival in Biarritz (at 200 francs a seat, it's fortunate that available, it

—

if

I

I

will

can get in for nothing).^

move

they can leave

in

If

on the 8th or 9th

me

alone,

I

my room and piano in Saint-Jean are for a

will stay

week, and

much

longer.

— but

I

don't expect

Hurry over

Galichet^ and beg her on your knees to throw out the intruders,

to

if there

Mme

are any.

This, of course, after you have distributed several "units" of thousands of kisses, 5

keeping

at least

one

for yourself.

Maurice Ravel 1.

2.

3.

The Feast of the Assumption, celebrated on August 15. The French artist of Japanese origin Foujita Tsuguharu (1886- 1968). The festival took place on September 11, with assisting artists Marcelle

Robert Casadesus, and soprano Marcelle Denya. 4.

A local resident who rented

5.

Ravel uses the Basque "muchus," meaning "thousands of kisses."

rooms.

Gerar,

J 02

:

:

:

Correspondence

310. to Michel D. Calvocoressi 9 rue Tourasse

October

3,

1929

Saint-Jean-de-Luz Sorry, old chap: until the 15th,

I

have been here for almost a month and plan to stay here

perhaps

till

the end of October.

But there were proofs

concerto.

tion. Finally, that's

I

came here

to correct: the Bolero

to

and Pictures

years ago; her Ufe was so sad

was going to write

to tell

probably unaware of it.

I

the very end.^

you of another misfortune, thinking that you were

learned about it the other day, and

was

also ailing for a long time,

struck by this terrible news, she died 2 days

The

still

don't

know the

beUeve, where he was supposed to undergo a rather benign

operation. His wife tian;

I

till

Cruppi some 3

our unfortunate friend, Casa-Miranda died rather suddenly in a sana-

details:

torium in Cambo,

^

an Exhibi-

finished.

Why yes, you must have read an obituary notice about Mme I

work on my at

mail will be collected soon. Fortunately,

communicate, and send

my

I

and hadn't

left

San Sebas-

later.

have no other bad news to

you both.

affectionate regards to

Maurice Ravel Ravel had dedicated the "Fugue" from Le Tombeau de Couperin to the

1.

memory of

her son, Second Lieutenant Jean Cruppi.

Cambo-les-Bains and San Sebastian are a short distance

2.

southwestern France and the

3

1 1

.

to

latter in

apart, the

former in

northwestern Spain.

Cipa Godebski

Le Belvedere

November

Tel: 89. Montfort I'Amaury

(S.

&

15,

1929

O.)

Old chap, Franek^ won't have a chance: Schmitt and other well-known composers are presenting their works It

would be better

dare do Will

were to

tell

will

?

be accepted

Franek the unpleasant news.

I

wouldn't

it.

we perhaps

see each other the day after

Comique.^ (Watch out!

tomorrow, but just in

— probably Schmitt's piece

if you

i

will leave

:45 p.m.)^

my bag

It will

in the

tomorrow

at the

be the only opportunity:

checkroom, and

I

Opera-

am arriving

will arrive at the hotel

time to go to sleep.

Affectionate regards to

all,

Maurice Ravel I

and

.

The nickname of Franz Godebski, an elder brother of Cipa and Misia. A composer he was for many years the director of the Conservatory in Perpignan.

violinist,

Correspondence

is

2.

For an S.M.I.

3.

The work performed was Chabrier's LeRoi malgrelui.

found

:

:

303

:

recital.

Ravel's reaction to the opera

in the next letter.

312. to

Madame

Bretton Chabrier^

December

Le Belvedere Montfort I'Amaury

(S.

&

4,

1929

O.)

Dear Madame,

The

other day, at the performance of L^ Roi malgre

play by heart from beginning to end, and which

noticed certain imperfections in

performance, increase

its

its

I

a

lui,

was seeing

work which

I

can

for the ist time,

I

inspired orchestration, and during the

could not help thinking of certain adjustments which would

I

effect tenfold.

You know of my great sympathy for the one musician who has influenced me above

all

others.

I

am therefore

asking you for the authorization to attempt this

enhancement,

for there is certainly

chestration, in

which everything

is

no question of seriously revising the

Although extremely busy with important projects, ine one of the principal scenes: the waltz I

would be only too happy

if I

or-

indicated, if not always perfecdy realized.

from

I

could temporarily exam-

act 2.

could contribute to increasing the overly

belated success of one of the most brilliant works in our lyric theater, and would

make

it

a point to refuse any compensation from the publisher, or any royalties

whatsoever.^

Madame,

In the hope of receiving a favorable reply, dear

please believe

me

very truly yours,

Maurice Ravel 1.

The

2.

For whatever reason,

homage Russe

composer's daughter-in-law. (See plate

to

this project

11.)

was not carried

out.

Thus, Ravel's only direct

Chabrier was his orchestration of the Menuet pompeux, done for the Ballet

in 1919.

313. to Serge Koussevitzky

Le Belvedere Tel.: 89.

But,

December

Montfort I'Amaury

(S.

&

20,

1929

O.)

my dear friend, it is impossible

for

me to sign this contract! As soon as ^

my concerto is finished, as I told you, I must take it around the world. The only thing

I

was able

world." 2

You

for 3 years

to

promise

will certainly

and expect

is

to reserve the ist

concede that

my publisher to

I

performance for you "in the

cannot defer

my tour

agree to this delay.

for 2 or rather

S04

:

Correspondence

:

:

Moreover,

this

concerto

same

several things at the

from being finished. As always, I'm working on

is far

time:

on another concerto,

this

one

for the left hand,

and, even, for several days, on a symphonic poem.^ Perhaps this outsider will cross the finish line

first.

In that case, you could have a ist performance as well

one season (there

as exclusive rights, but only for

is

always the matter of the

publisher).

My dear friend,

I

send you

my most

cordial regards.

Maurice Ravel

The proposed

1.

Orchestra

The

is

contract between Ravel and the Trustees of the Boston

Symphony

in the Koussevitzky Collection in the Library of Congress. It reads:

said Ravel hereby agrees to

compose a concerto

for

symphony orchestra and

piano, the score, solo piano part, and a complete set of orchestral parts in script to

be delivered

to the

Boston Symphony Orchestra,

Inc., at

manu-

Symphony Hall,

Boston, not later than September 20th, 1930, said manuscript to be the property all

times of the Boston

The first

Symphony

at

Orchestra, Inc.

said Ravel also agrees that the

Boston Symphony Orchestra

shall

have the

world performance of said concerto, and further that the Boston Symphony

Orchestra shall have the sole rights of performances in America of this work during its

Fiftieth Anniversary season

of 1930-193 1 and without the payment of any

performance fees or other charges.

.

.

.

In consideration of the performance of the above by the said Ravel the said

Trustees of the Boston

Symphony Orchestra, Thousand

authorized representative Three

Inc.,

agree to pay to the said Ravel or

($3,000) Dollars, Fifteen

Hundred

($1,500) Dollars of which are to be paid on the receipt of this contract duly signed

by the said Ravel and the balance of Fifteen Hundred ($1,500) Dollars

on the receipt of the complete score and 2.

The

to

be paid

parts of said concerto.

autograph reads "in the Vorld."

Probably a reference to Dedale jg (Labyrinth 39), which did not go beyond the planning stage (see p. 469, note 4). 3.

314. to Piero Coppola Montfort

Dear I

January

5,

1930

friend,

am

conducting the Lamoureux Orchestra on Saturday and Sunday. ^

rehearsals are

Thursday and Saturday.

and I have

caught a cold which feels

just

my brother,

in order to ask

Would you

like

the record will

me

still

I

.

.

am confiding this letter to me tomorrow morning.

like the flu. I

you to excuse

to visit

The

have to go to Paris on Wednesday

you Wednesday,

in the late afternoon.?

not be definitive.^ Write to

me

I

think that

or telephone Gutenberg

Correspondence

0-28, where

Wednesday. Your message

will arrive

I

will

:

:

^o^

:

My

be forwarded.

apologies once again, and very cordially yours,

Maurice Ravel 1.

On

Saturday afternoon, January 11, Ravel shared the podium with Albert Wolff,

who conducted works by Falla, Mozart, and une Infante defunte and Bolero. In addition,

Roussel. Ravel conducted the Pavanepour

Mme Lotte Schoene sang Lieder by Schubert

and Schumann with piano accompaniment. The same

artists

performed a different

program the following afternoon, with Ravel conducting "Alborada del gracioso" and Bolero. 2.

Coppola conducted the very

the next day. Ravel recorded

Wiener

3 15. Jean

Le Manoir de Orgeval

Dear I

la

&

(S.

to

it

first

recording of the Bolero in Ravel's presence, and

with the

Lamoureux Orchestra

(see p. 540).

Maurice Ravel April 16, 1930

Juste Pie^

O.)

friend,

am in the

country for a few days with

my wife and children, the car and my

— no more sleeping few weeks, thus of something resembling bought the Polydor — and — taking your

phonograph

cars for a

a bit

advice,

tranquility

ords of Bolero. As ridiculous as

you anyway, simply yesterday:

to tell

it

may seem, and as unnecessary, I am writing to

you that

I

have been living with

a sort of marvel; in itself,

it is

even more wonderful

—

in brief,

rec-

I

I

it is

this Bolero since

wonderful, and that you wrote

it is

send you the most enthusiastic and the most

profoundly cordial bravo which can be sent, and with

it

my

very devoted

friendship.

Jean Wiener

Would you come here one day to have lunch with us, before the 27th, were to pick you up by car.^? If so, write or telephone. Again, THANKS. I.

Wiener

called his country

home "The Manor

if I

of the Truly Pious."

316. to Ida Godebska

May 8,

Le Belvedere Montfort TAmaury Dear Iduchu,

1930

^

And do you

think that

beginning to curtail

my

presence

isn't essential here.? I

was already

my sleep. If I was seen at the Opera, it's because I knew that

Toscanini was taking a ridiculous tempo in the Bolero, and wanted to

tell

him so,

which disconcerted everyone, beginning with the great virtuoso himself.^

I will

So6

also

take

:

Correspondence

:

:

be seen

me

at the

from

impractical,

I

Clemenceaus on Monday, because Painleve^ and

Versailles

bring

will

me

back

early.

will

Although

come

to

really

it is

think that I'm going to take refuge in Saint-Jean-de-Luz.

Wittgenstein must have his concerto at the end of next month, and

far

it's

from being finished!^ I'm sure that Falla

will

not blame me. Should

Affectionate regards to

I

doubt your indulgence?

all,

Maurice Ravel 1.

2.

A

Polish diminutive which

In

May and June

(1867- 1 957) gave a Paris at the Opera,

when Ravel

used as a term of endearment.

is

New

1930, the

series

York Philharmonic led by Arturo Toscanini

of highly acclaimed concerts in Europe.

and the program on

The

did not acknowledge Toscanini's gesture to his box, and in a heated dis-

cussion backstage, he told the Maestro that his tempo was ridiculously the

tour began in

May 4 included the Bolero. An uproar occurred fast.

Although

men eventually shook hands, the Bolero had now become a cause celebre (see the letter

to Toscanini, no. 318). 3.

Ravel and Paul Painleve (1863-1933), the noted French mathematician and

statesman, were mutual friends of M. and 4.

The

Mme Paul Clemenceau.

Austrian pianist Paul Wittgenstein (1887-1961) commissioned the concerto

for the left hand.

Mapou^

317. to Charles

Le Belvedere

July 24, 1930

Tel: 89. Montfort I'Amaury

Dear

&

(S.

O.)

Sir and friend.

Thus,

it's

agreed for August 24.

will

1

accompany

my

Sonata for Thibaud,

the Chansons madecasses and other songs for Madeleine Grey, and if the pro-

gram I

isn't

too long,

I

will play

Af^ Mere VOye with Robert Casadesus.

thank you sincerely for the kind offer of your hospitality, which, to

regret,

I

cannot take advantage

order to accomplish Tourasse, where

I

of: I

will

do not wish

more

this, it is

sensible to

once again find

to interrupt

move

into

my piano, my bathing

my my

my great

work, and in flat^

suit,

and

on rue

my

set

ways.

Should you happen

to

meet

am deeply touched by his

my

compatriot Dongaitz, please

him

that

I

gracious participation in the pelota match, ^ which,

I

hope, will take place during the

last

week in August

tell

— my only vacation of

this

season.

Once

again, thank

you

for

all

the trouble you have taken to organize this

Correspondence

festival,

excuse

friend, believe

:

:

^oj

:

me for only being able to assist you very little, and, dear Sir and me cordially yours,

Maurice Ravel I

reopened

my letter:

yours just arrived.

But there was never any question of my accompanying Mademoiselle LamMoreover,

balle!"^

Casadesus

I

would be incapable of doing

supposed to return

is

telephoned him and Madeleine Grey, I

will

I

will

it.

tomorrow: as soon as

to Paris

have

I

send you a detailed program.

rehearse with Thibaud in Saint-Jean-de-Luz.

ITR Mapou organized a special Ravel festival which took place in Ciboure and Biarritz on August 24, 1930. The village of Ciboure paid homage to its eminent native son, as a 1.

commemorative plaque was placed on the composer's birth house, formerly at Quai,

now on

pelota

the newly inaugurated

match was played before the

evening

recital,

large outdoor gathering.

2 rue

The proceeds

held in Biarritz, were donated to charity (the program

outiined in the opening paragraph of Ravel's Palais, the

1

du

Quai Maurice Ravel. Following the ceremonies, a

letter).

is

of the

essentially

Following the recital at the Hotel du

evening ended with a gala dinner dance.

2.

In English in the autograph.

3.

See

4.

Mile Lucienne Lamballe, accompanied by Mile Mordant, performed choreo-

letter no.

319, note

i.

graphic interpretations of "Alborada del gracioso" (from Miroirs, and well beyond Ravel's technical ability) and the

"Rigaudon" from Le Tombeau de Couperin.

318. to Arturo Toscanini

Le Belvedere

September

Montfort I'Amaury

(S.

1930

9,

& O.)

My dear friend, I

have recentiy learned that there was a Toscanini-Ravel "affaire." You were

probably unaware of it yourself, even though

mentioned in the newspapers:

it

seems

have been assured that

I

that

I

it

was

refused to stand during the

applause at the Opera in order to punish you for not having taken the proper

tempo I

in the Bolero.

have always

felt that if

a

composer does not participate

in the

performance

of his work, he should avoid the applause, which should be directed only to the

performer or the work, or both. Unfortunately,

I

was badly or rather too well

remain unnoticed. However, not wishing turning toward you,

I

my

situated for

attitude to

my

abstention to

be misinterpreted,

feigned a gesture of applauding and thanking you.

jo8

:

:

Correspondence

:

But, isn't

it

so?

—

for "sensational" news, maliciousness

is

more

useful than

the truth. trust that

I

such news will not have altered your confidence in the admiration

and the profound friendship of your Maurice RaveP I.

Ravel's autograph

is

reproduced in Piero Weiss,

ed., Letters

of Composers Through

Six Centuries (Philadelphia: Chilton, 1967), plates 9 and 10 following

3 19. to Charles

p.

318.

Mapou

Le Belvedere

September 24, 1930

Tel: 89. Montfort I'Amaury

(S.

& O.)

My dear friend. It

wasn't easy

(in principle,

one should not relinquish

managed to obtain the maximum: 50%.

It's

royalties),

hardly less than what

I

but

I

should have

received after the distribution.

Therefore, please write directiy to the Society of Authors, 10 rue Chaptal (Paris IX),

reminding them that

at

my

request, they led

me

to expect this

refund.

And to

you

furthermore, don't be angry with me: in

person about

my

deep

joy

I

should have written what

and sincere gratitude

municipaUty, to Dongai'tz,^ the chorus, and to

complete success of this manifestation, which of

my

entire career. But, since

respite, or almost so: half an

my

return,

left

will

contributed to the

be the most touching

have plunged into work without

I

am finishing the orchestration of the I am

hand. 3 months remain to finish the other one, which

supposed to take around the world. Provided that

You

who

said

hour for each meal; an hour to walk 6 kilometers at

the end of the day; 5 to 6 hours of sleep.

Concerto for the

I

all

will surely

I

to you, to the

excuse me, won't

you.^*

I

hold up!

and don't think you have been forgotten by

your grateful

Maurice Ravel I

.

MM.

The

father and son pelota

Haitce and Titi during the

team of Leon and Frederic Dongaitz played against festivities.

:

:

jog

December

5,

1930

Correspondence

:

320. to Georges Vriamont

Le Belvedere Montfort TAmaury (S. & O.) Dear Monsieur Vriamont, At the

rate

it

was going, the concerto should have been finished soon.

I

hadn't counted on the fatigue which suddenly overwhelmed me.

Under the threat of dire repercussions: have been ordered to

and above

rest,

all

cerebral anemia, neurasthenia,

to sleep

—

I

was beginning

etc., I

to lose that

habit entirely. I

will

be able

make my I

am

resume work soon, but with greater moderation.

to

decision: the concerto will not

sorry about

it

be ready for

and can only ask you

have to

this season.^

pardon the feeble

to

I

limits

of

my

"productivity."

Dear Monsieur Vriamont,

believe

me very truly yours,

Maurice Ravel 1

He was

2.

Vriamont was hoping to arrange for the

a Belgian impresario, piano dealer, and music publisher.

Major Piano Concerto.

321. to

Madame

He

performances in Belgium of the

first

G

accomplished that goal in 1932.

Alfred

Madoux-Frank

Le Belvedere

February

&

Montfort TAmaury

(S.

Dear Madame and

friend,

5,

193

O.)

December did reach me, but I month they had to forbid me to

Please excuse me: your kind letter written in

was

in

such

pitiful

condition that the previous

do any work, or anything else except sleep, which I had been deprived of almost

my

entirely for a year. Ovvdng to this restriction,

finished at the

came

end of January. But suddenly,

to the realization that

concerto^ should have been

at the

beginning of November,

beginning to resume work on the concerto, but naturally season. Nevertheless, the concert vdll take place I

will

be very happy to accept your thoughtful

Would you

M.

please ask

M. Van

So

I'll

him

it

won't be ready

this

—without the concerto — and

invitation. ^

der Moylen^ to get in touch direcdy with

Boquel,"^ at 69 Boulevard de Clichy.^

contract gives

I

human endurance has its limitations. I am only now

I

don't believe that

my

manager's

exclusive rights.

see you soon, dear

Madame and

friend.

Once

again, a thousand

pardons, a thousand thanks, and please accept my warm and respectful friendship.

Maurice Ravel

J 10

:

:

Correspondence

:

The Piano Concerto in G Major. March 1931, Ravel participated in a program of his works, a benefit concert for

1

In

2.

Belgium's disabled war veterans, held in the Palais des Beaux- Arts in Brussels. At an elegant soiree given in his honor. Ravel was introduced to Ottorinc Respighi, and the

following day he was the guest of honor at an afternoon tea sponsored by the Society of

Phonic Arts and Sciences. In the presence of a large audience, recordings o(\heMenuet antique, Introduction et Allegro,

Sheherazade,

UHeure

La

espagnole,

Valse,

and Bolero were heard,

Ma Mere I'Oye,

and Daphnis

as well as excerpts

from

et Chloe.

(

A Belgian impresario. A Parisian impresario.

3. 4.

322. Elizabeth Sprague Coolidge to Maurice Ravel Los Angeles, California

My dear M.

Ravel,

hope you

I

will

not think that

I

am

forthputting if I

probably in the early part of November.

I

for

appeal to you again to

I

am planning to give in Paris next

an important concert which

write for fall,

me

April 6,1931

^

feel that

it

would add enormous

prestige to such a concert if I might give the premiere performance of a work by

you, and

I

am, therefore, venturing to offer you $ i ,200.00 for a

be played in your

engaged

city

string quartet to

whom

by the London String Quartet

I

have already

for the purpose.

am choosing this form of composition for several reasons, hoping that it will not be an unwelcome plan to you, and I am sure that the whole musical world I

would be delighted and

grateful to have at

hand another quartet by Maurice

Ravel after the lapse of twenty- five or thirty years since your

first

one was

written. 2 It is

needless to say that

I

shall

hope

for a favorable

forward to seeing you again in dear Paris.

me

May I

answer and

shall look

ask you to send your reply to

in the enclosed self-addressed envelope.

I

am, with unaltered esteem and most friendly regards.

Yours very sincerely, Elizabeth Sprague

CooUdge

was written

1

This

2.

Like Debussy, Ravel composed but one string quartet. At Oxford University in

letter

in English.

1928, he was presented with a document signed by Professor other musicians.

We, Musicians of Oxford, whose to

Hugh

P.

Allen and 135

It stated:

M. Maurice

privilege

Ravel by the University

it

was

when

Doctor of Music (honoris causa), venture

to share in the

welcome accorded

he was admitted to the degree of

to express

our earnest hope that he

will

Correspondence

commemorate

the

evem by

giving to us

and

to posterity the benefit

:

:

jii

:

and delight of

another string quartet. (Autograph in the Music Division of the Bibliotheque Nationale, Dossier Ravel, no. 34.)

323. to Mrs. Louise Alvar

Le Belvedere Tel.: 89.

Dear

June 22, 1931

Montfort TAmaury

&

O.)

friend,

Aubry telephoned me cannot tell you

my

(S.

this

morning. Immediately

how much it touched me

.

.

.

after,

your

letter arrived: I

and delighted me. I promptly forgot

remorse.

Thus,

hope

I

supposed

to

to find

you in London, because the 2 performances which

conduct will be given on July 7 and

"Golden Arrow" and

will leave the

I

am

SM will arrive the 6th on the

gth in the morning: 4 days taken from

my

concerto!

Thank you regards to

all

again, excuse the haste of these

few

lines,

and

affectionate

from your

Maurice Ravel I

.

Ravel conducted La

Valse

and Bolero

at

Covent Garden

for Ida Rubinstein's troupe.

324. to Henri Rabaud^

Le Belvedere

November

Montfort TAmaury

(S.

&

20, 1931

O.)

My dear friend. Please excuse

Pm

me

for the Osiris competition: ^

my concerto

is

finished, but

not far from being so myself and would risk falHng asleep at the

candidate.

I

have been ordered complete rest and

injections of serum.

on January Accept

I

will

am

first

being treated with

have to be content to conduct for Marguerite

Long

14.^

my

regrets

and believe

me very truly yours,

Maurice Ravel 1.

The French composer and conductor Henri Rabaud

(1873 -1949) succeeded

Gabriel Faure as director of the Conservatoire, a position he held between 1920 and 1

94 1 2.

(see plate 3).

A

tragedy,

special competition for students

who had

already received a Premier Prix in

comedy, or operatic studies, named in memory of the French financier and

philanthropist Daniel

Illfa

Osiris

(1828- 1907).

J 72

:

:

Correspondence

:

In the all-Ravel program given on January 14, 1932, the composer shared the

3.

podium with

the Portuguese conductor Pedro de Freitas-Branco,

Parisian debut. Emile Vuillermoz

tempered

who was making

his

i

his enthusiastic review as follows:

Once again, I wish to protest against the habit, more and more frequendy indulged of attempting at all costs to bring a composer before the public in a part which he

in,

incapable of

is

M.

filling.

Ravel

continually brought out as a pianist or as a

is

conductor, whilst he cannot possibly shine in either of these two specialities

Pavane was unutterably slow, his Bolero dry and badly timed.

ment of the concerto lacked But there

is

clarity

and

elasticity.

.

.

And

His

the accompani-

.

only praise for the composer of all these deHcate, subtle works, the

orchestration of which abounds in amusing and profound inventions, and which

is

The new concerto is worthy of the other masterpieces that we owe to Ravel The work is very easy to understand and gives the impression of extreme youth. It is wonderful to see how this master has more freshness of inspiration than the young people of today who really

of inimitable originality of writing and of thought.

flog themselves uselessly in order to try to discover, in laborious

humor

caricature, a

Vuillermoz

that

summed up by

is

comedy or

not in their temperament.

calling the concert "the finest artistic manifestation of the

season" {Christian Science Monitor, February 13, 1932).

325. to Jane Bathori Bonnet Machine Shop

&

Factory II

&

September

Levallois,

15,

1932

Offices:

13, rue Camille

Desmoulins

Telephone Pereire 01-12 :

Levallois Perret (Seine)

Dear

friend,

When you informed me

(in

your

letter

dated July 20!) ihztUHeure espagnole

was going to be performed in Buenos Aires, I wanted to reply immediately. Unfortunately,

I

was immersed

and which made with

me

in a project

which

to Saint-Jean-de-Luz, together with

brought back

all

I

should never have undertaken

me lose more than 3 months needlessly. your

^

letter

of the letters without replying. Finally,

I

had taken my work and many others.

Pm

I

beginning with

yours. Is

there

still

time to

make

several very important

recommendations with

regard to the character of this light and good-natured work,^ which

obscene, as

The

it

is

never

has sometimes been interpreted, particularly abroad?

roles of Concepcion

and Ramiro demand a great deal of tact, the

latter

in particular, a gruff fellow without malice, but not without modesty,

and

Correspondence

As

occasionally poetic (in his monologues).

for

:

:

:

jij

Gonzalve who should have a ,

pleasant tenor voice, he should exaggerate the vocalizations.

The two

espagnole will

hope

cuse

if

not to realize.

of these suggestions are taken into account, the interpretation of

If all

UHeure I

other roles are easier to understand,

this

be the best "in the Walk."^

won't reach you too

late,

that you

and

my involuntary delay. Dear friend,

and your colleagues will ex-

believe in the great affection of your

Maurice Ravel

Pm returning shortiy to Montfort."^ 1.

Referring to the film music for

Don

Quixote (see letter no. 278, note

i).

Despite

serious financial problems, the film was eventually completed. According to an article in

Paris-Midi (June 13, 1933), Ravel sued the film company for damages, but apparentiy

nothing came of the matter. 2.

Ravel's very late reply probably arrived just in time, as the program in the Teatro

Colon was given on September Jose Castro conducting.

24. Jane Bathori sang the role of Concepcion with Juan

The program

Casavola, Eljorobado del Califa (The

also included the Bolero

Hunchback of the

and an opera by Franco

Caliph), based

upon a libretto by

Arturo Rossato. 3.

Written in English in the autograph, this

4. Ravel's

autograph

is

is

another attempt to write "in the world."

reproduced mArs: Revista de

arte,

27, no. 104 (1967),

no

pagination.

326. to

Guido

Gatti^

Le Belvedere

January

Montfort I'Amaury

Dear Signor I

(S.

&

5,

1933

O.)

Gatti,

have learned that Madeleine Grey,

who had been chosen

to sing the

Chansons madecasses at the Florence Festival, must be replaced by another singer:

I

find this upsetting, as

you

In fact, since Bathori's perfect ago, this very difficult artists:

realize.

first

performance, quite a number of years

work has been taken up by many other distinguished

not one has expressed

its

character as faithfully as Madeleine Grey.

designated her recentiy when the Polydor

I

Company asked me to record these 3

me to select the performers. my particular preference for this work, you will understand that I wish it to be performed as closely as possible to my intentions. I am still hoping that the jury will reverse its decision, which would make me

pieces, allowing

If you consider

extremely grateful.^

Dear Signor

Gatti,

Maurice Ravel

beHeve

me most cordially yours,

JI4

:

:

Correspondence

:

1.

The

2.

Madeleine Grey's performance was canceled owing to the anti-Semitic

Italian critic

and musicologist (1892- 1973). policies of

fascist Italy.

Manuel de

327. to

Falla

Le Belvedere

January

Tel: 89. Montfort TAmaury

Dear

(S.

&

Falla,

Roland-Manuel upset me with the news I

that

you had been

ill.

was going to write to you: you anticipated me and reassured me because you

have resumed work, which

is

the best sign of health.

am just beginning to resume my work. The accident, however, was not very

I

serious:

^

a bruised thorax

anything but sleep and I

1933

6,

O.)

use only as a

and some

eat.

facial

wounds. And yet,

I

was unable

to

do

There remains only an irrational fear of taxis, which

last resort.

See you soon, dear Falla: towards autumn,

if

will I

have the joy of seeing you again on the coast,

not before? In the meantime, warmest good wishes from

your

Maurice Ravel

On

I.

October

1932, Ravel was injured in a taxi collision in Paris. Although he

9,

endured considerable pain,

enough

his condition

to participate in a concert

was not

serious,

and

in

December he

felt

well

of his works given in Basel.

328. to Alfred Perrin

Le Belvedere

February

Montfort TAmaury

Dear I

(S.

&

7,

1933

O.)

Alfred,

bless

M.

really didn't

Casanelli for having given

know how to go about it.

have some news which

I

me

the opportunity to write to you:

I

kind young man,

I

Finally, thanks to that

wouldn't have dared to ask about, as he must have told

you.

The news

about

has her entire

As

for

me,

I

life

my

cousin saddened me, but she

have been rather busy:

three years (2 concertos).

and a sojourn in

is still

so young!

She

still

ahead of her.

An

first,

a project without respite for close to

extended tour in Europe was genuinely

my native region was a bit less so,

as always.

restful,

Upon returning, I

began 3 Spanish songs* and an Arabic pantomime^ (more travels). This stupid accident was enough to knock me out for 3 months.

It's

only

Correspondence

during the past few days that

:

:

:

ji^

have been able to resunie work, and with some

I

difficulty.

Now

have 3 concerts which

I

I

had

to accept,

and then

Pm

going into

seclusion.^

My

apologies to

and despite

all,

my

frequent silence, believe in

my

deep

affection.

Maurice Ravel really

I

must

write to Marc'^ one of these days, but

first I

must have

his

address.

1

Don Quichotte a Dulcinee.

2.

Morgiane, a ballet commissioned by Ida Rubinstein, was based on the tale of Ali

Baba and the Forty Thieves.

The

3.

Virtually

none of it was committed

three concerts were as follows: i)

an all-Ravel program was performed

at the

to paper.

On Sunday afternoon,

February 12, 1933,

Champs-Elysees theater by the Pasdeloup

Orchestra conducted by the composer (G Major Piano Concerto with Marguerite

Long, and Bolero) and Manuel Rosenthal {MaMereVOye, La ^

Daphnis

et

was planning

3) Ravel

Wittgenstein in

and

Valse,

and excerpts from

Chloe). 2) Ravel led an amateur orchestra in a performance of

Monte

conduct the Piano Concerto for the Left

to

Hand

La

Valse.

with Paul

Carlo, but Paul Paray replaced him. (See letter no. 330, notes 3

4.)

The son

4.

of Alfred Perrin.

He was

a trombonist in the Orchestre de la Suisse

Romande.

329. to Madeleine Grey

Le Belvedere Montfort FAmaury Dear friend, I

had

February (S.

all

1933

O.)

carefully put these 2 pieces aside:

the sense to join you

We

&

8,

I

found them there. They didn't have

by themselves.

hadn't thought about the laws of fascism, neither you, nor Kiesgen, ^

nor L Polydor recently sent me Xht Madecasses (they had forgotten me). It is

true that

my Thomson

is

It's

perfect.

excellent. ^

Sincere apologies for the delay, and best wishes,

Maurice RaveP 1.

The

2.

Ravel's phonograph

3.

This autograph

impresario Charles Kiesgen was Mile Grey's manager.

is

may

still

be seen

at

Le

Belvedere.

reproduced in Vladimir Jankelevitch, Ravel

Rieder, 1939), pl^te 14 following p. 130.

(Paris: Editions

Si6

:

:

Correspondence

:

330. to David Diamond^

Le Belvedere Montfort TAmaury Dear friend,

I April 6, 1933

&

(S.

O.)

Excuse me: Prix du Disque,^ P.T.T.^ Returning to Montfort,

that, I

conducted La

"^

have just finished

Don

Quichotte a Duldnee, and

beginning Morgiane, the devil take the shock!

BeHeve

in the affection

Valse), etc., etc.

only had time to begin packing, finish at Levallois, and

I

hurry off to Monte Carlo.

Outside of

(I

^

See you soon, dear

am

friend.

of your

Maurice Ravel

The

1.

noted American composer

191 5) met Ravel in Cleveland in 1928.

(b.

were introduced by the young musician's

The composers

friend of Ravel.

violin teacher,

occasionally

met

They

Andre de Ribaupierre, an old

in the 1930s,

when Mr. Diamond

continued his studies in France.

The Grand

2.

Ravel had been a 3.

Prix

du Disque began

member

to distribute

of the jury since

its

coveted awards in 1931, and

its

inception.

An amateur orchestra largely composed of postal workers. P.TT

Telephone) 4.

is

(Post, Telegraph,

the French abbreviation for a post office.

Hand

Ravel had intended to conduct the Piano Concerto for the Left

in

Monte

Carlo with Paul Wittgenstein, but owing to deteriorating health, he asked Paul Paray to replace him. tionally 5.

warm

He

did attend the performance, however, and acknowledged an excep-

ovation.

That is, the "shock" of going from the

Don Quixote to a den of thieves!

chivalrous

331. to Marie Gaudin^

La Floride Le Touquet

August

Pas-de-Calais

Tel.:

Dear Marie, You won't see me quite a long time,

I

March

at the

this year at Saint-Jean, alas!

FeeHng rather washed-out for

continued nevertheless to work, but without any

Opera. ^ Increasingly

blood pressure, rather low. Blood large accumulation of urea.

test:

Now

it's

tired,

is I

my

native region,

department

is

more

and

went

to

results.

I

be performed

to see Vallery-Radot:^

satisfactory.

But the anemia continues. rest,

which

is

hardly possi-

too hot anyway: the seashore in the North

it's

invigorating.

supposed

the doctor was concerned about a rather

Medication: a bewildering host of drugs, complete ble in

1933

639

had undertaken a pantomime: Morgiane, which next

2,

"*

Correspondence

Some charming

friends offered

me

their hospitality.^ In

symptoms disappeared. Vallery would like to compel me of September, but as soon as

work I

you I

at

month

to stay here

j//

:

:

all

till

of the

the end

Pm going to try to skedaddle and

feel stronger,

I

i

:

Montfort, without tiring myself out too much.

pardon my silence, having learned the reason for it, and that me good news about everyone.

hope you

will

send

will

embrace

all

of you gochoqui^ gochot^

1.

This

which contains many erasures,

letter,

document,

it

write deteriorated sharply. Written

many

contains initials),

in

his ability to

first

verso side

theme

his

measures) of the Piano

(3

G Major. The verso of page two contains the beginning of a letter to Marie light pencil:

"Dear Marie, I'm

sentences: "For a rather long time,

feeling

much

but rather poorly.

I

I felt

better,"

diflferent

.

.

.

version of these

rather washed-out. Nevertheless,

continued

I

had undertaken a rather important work: Morgiane"

(etc.).

Dr. Pasteur Vallery-Radot was a trusted friend of both Debussy and Ravel (see his

letter to 4.

sides of two pages, the

Despite the erasures, one can distinguish a slightiy

to work,

which

M's and R's (Ravel laboriously practicing the writing of

capital

Gaudin, written in

3.

final illness, in

the indication Allegramente, and the opening

Concerto

2.

on the recto

A poignant

written in ink and pencil.

is

shows the beginning stages of Ravel's

Helene Jourdan-Morhange,

Dr. Theophile Alajouanine,

no. 333).

who examined

Ravel over a period of two years,

described his patient's condition in Brain, a journal of neurology, and his comments are

quoted in It is

full.

a Wernicke aphasia of moderate intensity, without any trace of paralysis, without

hemianopia, but with an ideomotor apractic component. nite,

The cause, though indefi-

belongs to the group of cerebral atrophies, there being a bilateral ventricular

enlargement; but

it is

quite different

from Pick's

disease. Oral

and written language

are diffusely impaired, but moderately so, without any noticeable intellectual

weakening. Memory, judgment,

ment to repeated

tests.

affectivity, aesthetic taste

or written abilities. Writing, especially,

language

is still

is

oral

very faulty, mainly due to apraxia. Musical

more impaired, but not

quite remarkable discrepancy

instrumental),

do not show any impair-

Understanding of language remains much better than

in a uniform manner.

between a

There

is

chiefly a

loss of musical expression (written or

and musical thinking, which

is

comparatively well preserved. With

the help of two musicians, a favourite pupil of the master and a neurologist with great musical ability tion,

we could

study as precisely as possible musical tune recogni-

note recognition (musical dictation), note reading and solfeggio piano playing,

and dictated musical writing (copied or spontaneous). analysis,

but

it

seems

to

me

Recognition of tunes played before our musician

He

I

apologize for giving such an

essential in respect of the value of such a case-history. is

generally good and prompt.

recognizes immediately most of the works he knew, and anyway he recognizes

perfectiy his

own

works. That recognition

is

not a vague one, for he

is

able to

ji8

:

:

Correspondence

:

evaluate exactly rhythm and style as

shown by the

He immediately

following facts.

"Tombeau de

notices the lightest mistake in the playing; several parts of the

Couperin" were

first

correcdy played, and then with minor errors (either as to

notes or rhythm). He immediately protested and demanded a perfect accuracy. When playing the beginning of "La pavane de ma Mere I'Oye" which contains two exactly similar bars,

one was omitted. The patient immediately stopped the pianist.

He succeeded in explaining, in his halting speech, that the first bar was to link with the preceding part.

The same

is

true for rhythm:

has the music played again with studies

its

my piano

on musical interference of aphasia,

the winter

— had become somewhat out of

strated the dissonance

if played

too

fast,

he protests and

exact rhythm. Another remark: during these

tune.

—because of

the

dampness of

The patient noticed it and demon-

by playing two notes one octave

apart, thus

showing again

the preservation of sound recognition and valuation.

On faulty,

the contrary analytic recognition of notes, and musical dictation, are quite

only

His numerous mistakes are due, very

some notes

likely, to

hesitatingly

aphasia

itself,

and with

and

to the

name of a note, a trouble exacdy similar to name designafor conunon objects. The fact that reproduction of notes played on the piano,

difficulty

tion

name

or seemingly so, since he could

difficulty.

of finding the

without giving their name,

is

quite good, seems to confirm this opinion.

Note reading is extremely difficult. From time to time often reading finding

may

is

impossible.

The same

partly explain the failure.

is

But there

playing is almost impossible after reading. therein. signs,

Anyway a quite

and

is

and

is

read exactiy.

The

Most

trouble of name-

something more, since piano

A component due to apraxia supervenes

definite discrepancy

is

noted between deciphering musical

their visual recognition. If an analytic deciphering

on the contrary the patient is able to find,

a note

true for solfeggio.

to recognize at first glance

is

almost impossible,

whatever piece he has

that without any error.

Piano playing

is

very

difficult,

since in addition to difficulty in reading, our

aphasic patient has to search for the location of notes on the keyboard.

He

sometimes misplaces notes without being aware of it. For instance he plays the mi-

mi instead of the do-do arpeggio, and placed on the proper keys. Diesis and

flats

plays

He plays scales

are well marked.

There

is

it

again and again, until his fingers are

quite well, both major and just a praxic difficulty.

only one hand (the right one) the beginning of "Ma

he cannot decipher.

numerous

He

needs many exercises

exercises during a

ning of the "Pavane" [from

contrary he has a greater performance

minor ones.

can play with

Mere I'Oye." With both hands,

to play in that way. In spite

whole week he cannot succeed

Ma Mere

He

rOye], even with separate hands. ability

when he

of

in playing the begin-

On

the

plays by heart pieces of his

own composition. He suddenly gives a right idea of the beginning of "Le Tombeau de Couperin" which

is,

however, too

difficult to finish.

Seven or eight bars are

played almost perfectly, and he plays them, transposing to the lower tierce, without

any

error.

When

attempting an

unknown

piece he finds a

much

greater difficulty:

he cannot play more than two or three notes of a piece by Scarlatti, which he did not previously know.

Correspondence

:

:

Musical writing is very difficult, although better preserved than plain writing. writes dictated notes slowly and with

numerous

impossible and requires from the patient enormous

by heart a portion of his "Entretiens de slow,

effort.

la belle et la

better performed than the other tests.

is

errors, but copying

jig

:

He

almost

is

On the contrary, writing

bete," though difficult and

Notes are better and more quickly

placed, and he seems mainly disturbed by writing apraxia. Singing by heart correctiy given.

performed for some of his works, but only

if

the

first

is

note or notes are

He says that tunes come back quite easily, and that he can hear them singing

"in his head." Musical thinking seems comparatively better preserved than musical

language

itself.

Though

all artistic

realization

is

forbidden to our musician, he can

music, attend a concert, and express criticism on

he

His

felt.

artistic sensibility

it

still

listen to

or describe the musical pleasure

does not seem to be in the least altered, nor his

judgment, as his admiration for the romantic composer Weber shows, which he

me

told

several times.

Thus,

He

can also judge contemporary musical works.

our musician, because of aphasia, and as already mentioned, because of

in

a simultaneous apraxia, musical reading, piano playing, use of musical signs are

much more

impaired than expression and recognition of musical themes. Severe

disturbance of realization, and difficulty of expressing a relatively preserved musical thinking, while affectivity

and

aesthetic sensibility are almost intact, are the

features of our composer's case-history.

They

explain

why

his

main

work has been

completely arrested by his cerebral affection. (Theophile Alajouanine, "Aphasia

and 5.

Artistic Realization," Brain, vol. 71, part 3,

Ravel was staying

at the villa

department (see her telegram 6.

In Basque, "goxoki,"

September, 1948, pp. 232-234.)

of Jacques and Fran^oise Meyer in France's North

to Dr.

Robert Lemasle, no. 345).

meaning "tenderly."

332. to Anatole de Monzie^

December

3,

1933

Sir, It is

true that

my work, my

frequent absence, and above

the state of my health hardly permit vatoire's

me

all,

for over a year,

to attend the meetings of the

Conser-

Advisory Board.

WhUe fully regretting this, I have no doubt that a juror who is so deficient will be advantageously replaced.

With my

apologies, Sir, please

be assured of my high esteem.

Maurice Ravel I.

From June

4,

1932, until January 30, 1934, Anatole de Monzie (1876- 1947) was

France's minister of National Education.

would continue Archives).

to serve

He

had written

to Ravel, asking

on the Conservatoire's Advisory Board

(letter in

him

if

he

the National

320

:

:

Correspondence

:

333. Dr. Pasteur Vallery-Radot to Helene Jourdan-Morhange 49

bis,

Avenue Victor Emmanuel

January 30, 1934

III

Paris (8)

Telephone: Elysees 21-16

My dear Helene, It

has been a very long time since

you know that If you see

am

I

I

have seen you.

strikes

about his brother.

me

tell

him

you soon, but

(but without alarming

as extremely emotional) that

any lesion whatsoever: there

isn't

indicate a state of intellectual fatigue

— and

to see

I

am

him too

very uneasy

have had him undergo numerous examinations in order to

I

be certain that there necessary

hope

increasingly pressed for time.

Maurice RaveFs brother,

much because he

I

insist

on

this to

which

is

Maurice Ravel

—

that

he

but he does

isn't;

very disturbing.

It is

absolutely

rest completely for

many weeks, and in order to do it, he would be better off visiting with friends in the Midi or going to the mountains.

Very affectionately yours, Siouli Dr. Vallery-Radot's nickname.

I.

334. to Edouard RaveP [Switzerland]

[c.

March 1934]

My dear little Edouard, believe that

I

Michaud,

I

whom

mange,^ in her

have done the best thing by following the advice of Professor Desjardins^ had recommended, as well as

letter:

Mon

Repos ^ is

maintained by nuns,

Madame Dom-

like

Blomet. Every

my hot bath with fir milk in order to make me

night, they prepare

sleep. In the

morning, after breakfast, a hot shower.

Maurice Ravel 1

This document, written

speaking. F.

It is

written

in light pencil,

on the back of a

bill

is

a draft rather than a letter, properly

(dated 1934) presented to Maurice Ravel by

Georges, haberdashers on Boulevard des Capucines

(Paris).

At the top of the page,

Ravel practiced writing the word "petit" (misspelled "petti" in the

draft),

and signed

his

name in ink well below his comments. (The bill, which comes to 658 francs, is for shirts, collars,

and

cuffs.)

2.

Dr. Abel Desjardins, one of Ravel's physicians.

3.

Mme Rene Dommange (see letter no.

4. Literally,

Switzerland.

"My

Rest."

It

was a

rest

190, note

home

i).

in the

mountains overlooking Vevey,

Correspondence

:

:

J2i

:

335. to Marie Gaudin

[Mon Repos]

March

12 [1934]

[Switzerland]

Dear Marie,

Thanks

more or

^

mountain

to the invigorating

less. I

air,

Fm beginning to be

able to write,

should have taken care of myself over 2 years ago: now,

cerebral anemia.

of being cured, but

it's

I

have

me

of the doctors, including the specialists, assure

Finally, all

taking so long!

have moved into an establishment maintained admirably by French nuns.

I

Fm thinking of staying here Let's talk business: as

more convenient to

at least

I still

hope

another month. to return to Saint-Jean,

not very skilled in business terminology, could they send

would only have times. so: I

I

Thanks

to sign?

will try to

began

I

think

it

would be

leave the cash there, in the Societe Generale bank.

in advance,

answer you although

this letter

it

and love

costs

me

to

me all.

a letter

Write

As

Fm

which

I

me some-

entire days of torture to

do

over a week ago.

Maurice Ravel Address your

letters here,

otherwise they are sent to the

which answers them or forwards them I.

See plate

to

Durand company,

Edouard.

13.

336. to Lucien Garban April 22, 1934

Dear

friend.

It is

true that

I

entrusted the manuscript of

Don

Quichotte a Dulcinee to

Singher^ so that he could work on these three songs and give the ist perfor-

mance with orchestra. I was even thinking of conducting them myself. But I never dreamed of having them recorded first, which incidentally would be contrary to this as

at the it's

end of this month to move

an end

As

my agreements with Durand. Obviously, Singher is unaware of all my condition. I will see him soon: Fm returning

he doesn't know about

like

into

Malmaison vdth our eminent statesmen:^

any other.

for the Broadcasting

attend for a long time.

It

Commission,^

would be best

bringing him up-to-date about

hardly think that

I

vdll

to ask the minister to

my situation.

See you soon. Affectionate regards, Maurice Ravel

I

be able

to

excuse me,

^22

:

Correspondence

:

:

The French baritone

1.

Martial

Smgher (1904- 1990). See his

letter to this writer

appendix A.

in

Not

2.

to

be taken

literally for

Napoleon's famous chateau,

this is a

bantering

reference to the neighboring clinic in Rueil-Malmaison, just west of Paris, where,

among many republic, 3.

other dignitaries, Paul Deschanel, a former president of the French

had undergone treatment.

Probably the Radio Broadcasting Commission, which was under the aegis of the

Ministry of Communication.

337.

Durand

&

Co. to Maurice Senart^ Paris,

January 16, 1935

Sir,

Maitre Maurice Ravel, who has been prescribed complete rest by his doctors, begs us to tell you that at the request of M. Obouhov, he willingly authorizes you to utilize the following statement for the publication of

M. Obouhov^s two

pieces which you are about to print:

"Obouhov performed fragments of his LeLivre de

Vie for

the emotional power, truly inspiring, of this unusual work.

new

notation,

which considerably

me.

I

It is

was struck by written in his

simplifies the writing of music." ^

Very truly yours,

Durand

A.

&

Co.

1

The French music

2.

By using

different

publisher.

shaped note heads, Obouhov's system eliminated the need for

sharps and flats. (See Raymond Petit, "Introduction a Foeuvre de Nicolas Obouhow," La Revue musicale, 290-291, 1972, pp. 27-39.) Although fragments of Obouhov's work

have been recorded, the score has yet to be printed.

338.

Leon

Leyritz to

Madame Maurice

Delage Wednesday, March 6 [1935]

La Mamounia Hotel Transatiantique

Marrakech [Morocco]

We received your letter last night,

dear

Madame, which was mistakenly sent

to Fes! Yes,

we

and we

found some denicotinized tobacco! Everything

also

for the best

visited the EscoriaP as well as Goya's chapel outside the walls,

— the

trip,

obviously,

was a

bit

long and

is

thus working out

tiring,

but despite the

excitement here, a marvelous aura of peace and calm prevails, which is certainly

The comb was found easily, and the cufflinks are fastened as if by The result of all this is that he is presendy writing to his brother all by

beneficial.

magic.

!

Correspondence

himself! slowly, to be sure; but

be

some,

taxing, but

their

own

right.

We

like the

a fact!

it's

:

:

^2^

:

We avoid invitations which appear to

one we accepted yesterday were very interesting in

drove four hours high up in the mountains (2,000-2,400

meters)^ to find a young and charming prince in an enchanting palace, displayed

of the pageantry

all

command and

at his

spectacle of dance and music

who

presented a magnificent

which fascinated Maitre Ravel

—

thirty

tam-

bourines with their deep, vibrant sound, accompanying one hundred female

dancers dressed in festive costumes laden with jewels and embroidery

—

it

was

very beautiful.

We occasionally go to the terrace of the Cafe de France, from where one can Djemar el Fra, which we have explored thoroughly. We don't pass there without thinking of you, which is to say very often! We exchange many overlook

telegrams with

Madame Rubinstein, who is so charming

—we expect

to see

her

descending from heaven one day soon!

My wife has told me how kind you were to her, and I sincerely thank you for it.

Please accept

my most respectful compliments,

dear

Madame,

as well as

my

kind regards to your husband.

Maitre Ravel embraces you very affectionately and thanks you for your thoughtful

Leon

letter.

Leyritz

2.

The sixteenth-century palace and monastery just northwest The church of San Antonio de la Florida, in Madrid.

3.

About 6,550-7,850

1.

339.

Leon

of Madrid.

feet.

Leyritz to Helene

Jourdan-Morhange

La Mamounia

Saturday the 9th [March 1935]

Hotel Transadantique

Marrakech

Dear Madame, I

just received

"Ravelito"

your charming

working

is

letter

moment

at this

which touched

—

me

deeply.

Your dear

despite the inevitable slight fatigue,

believe that this trip will prove beneficial, above

all,

precisely

I

from the point of

view of this confidence in the future, which you wrote about. Perhaps you won't find a big

change

at first,

but

I

can

tell

you

that

he often speaks to

me

about his

music, no longer as something unreafizable, as he recently did, but as something which

is

for Morgiane,

augurs well.

possible

—

difficult,

and has spoken

Of course,

he

is

to

but possible.

me

He has whistled some melodies

about his views of the staging. All of this

not yet capable of actually writing the music.

He

324

:

:

Correspondence

:

has been happy and in good

him

arrange for

to

spirits

during our stay here, and

I

would

like to

remain longer.

We had the opportunity to meet your friends the Lapiduses at a reception on behalf of a charity given at our hotel by General Catroux. ^ Indeed, they were

introduced to Maitre Ravel as being your friends, and they invited him to an

Arabic dinner with other doctors and their wives. But Ravel was afraid of upsetting his diet too much, and he declined the invitation. despite the introductions, they thought

it

me

intimate,

and

it

—

tell

them what

regrettable that

my

necessary to ignore

it

could very well have arranged everything they could make, keep

It is

presence.

I

sort of invitation

would have worked out very well

some kind of secretary-valet! Dear Madame, we are leaving Marrakech tomorrow for Fes and its environs.

they must have taken

for

We will return at a leisurely pace and will be back in Paris on the 20th at night. Maitre Ravel embraces you very affectionately. We often speak of your pretty eyes! Kindly allow me to offer you my most respectful compliments. Leyritz

The French

I.

many

general Georges Catroux (1877- 1969) served for

years in

Indochina and North Africa.

340. Mademoiselle

Rene

Perret to

Madame Maurice

Delage

May 4,

Mile R. Perret Pension

"Mon

1936

Port"

25416 Lausanne [Switzerland]

Tel.:

Dear Madame, It

will

has been 10 days since you

now bring you

up-to-date.

left

M.

your friend

M.

Ravel, and as

our institution as elsewhere, and he appears to be happy.

M.

promised,

much

I

at

On Sunday, April 26,

trip with M. d'Alexandrie from 5:30 to 7 o'clock, M. Andre Germain had sent him a fresh bouquet of flowers,

Ravel took an automobile

and then,

M.

I

Ravel has settled into a routine, as

as

Ravel wished to receive him in order to recall their

taken place on

May

i;

last

meeting, which had

the gentlemen then went to the Lausanne Palace.

we took a lovely promenade atop the city, visiting the orchards in full M. Ravel was beaming, and imitated bird calls for us. Evenings are spent pleasandy, chatting and listening to a fine radio; M. Ravel still has difficulty

Yesterday,

bloom;

recalling proper nouns, but given confidence, relates anecdotes about artists;

himself with more explains to

M.

facility.

I

he

talks

about his travels or

am not alone in finding that M. Ravel expresses

On Thursday, I will be at the doctor's office when he

Ravel the reasons for the treatment which he

is

following; our

Correspondence

:

:

^25

:

dear M. Ravel must recover, and in order to accomplish that, he must rediscover himself and in his recovery, don't you think?

faith in

better,

and

ments and

his appetite

also good.

is

his bathrobe,

and

I

He

believe

it

M.

Ravel

is

also sleeping

did indeed receive several undergar-

would be useful

if you

could send him

his raincoat. will

I

send you further news

Madame, Rene

at the

end of the week. Please believe me, dear

very truly yours,

Perret

341. to Andre Dezarrois*

Le Belvedere Montfort TAmaury Dear Sir, It is

for the I

Paris, (S.

impossible for

June

17,

1936

& O.)

me

at the

present time to participate in the deliberations

awarding of a scholarship to a musician, but if a mail ballot is admissible,

would be

M. Emile

grateful to

you

if you

would inform

my colleagues on

the jury that

Passani^ seems to me, by virtue of his musical talent as well as his

financial situation,

worthy of being the winner of the prize in musical composi-

tion for 1936.

Very truly yours,

Maurice RaveP 1

He was

the secretary- general of the

American Foundation

for

French Art and

Thought. 2.

The French

3.

This

342. to

letter

composer,

pianist,

and choral conductor (1905-1974).

was typewritten for Ravel, but he

Hans

managed

to sign

it

himself

Briickner^

[May 1937] Sir, I

am extremely surprised to learn that you have included my name among the

Jewish musicians Usted in your publication tntitled yudentum undMusik.

am a Catholic,

having been baptized in the month of my birth,

Ciboure (Lower Pyrenees), and

I

March

Now I

1875, in

descend from Catholic parents and grand-

parents. I

absolutely insist that you have

my name removed

from every copy without

further delay, and that a rectification be published in the newspapers. Further-

more,

I

request that you send

me

a justificative copy of the corrected volume,

J26

:

:

Correspondence

:

and some of the insertions

in the press. Otherwise,

I

will feel obliged to take all

necessary measures.

Very truly yours, ^

A publisher and writer in Munich. With Christa Maria Rock, he was the co-author

1

of Jfudentum und Musik (Judaism and Music), a book of some 250 pages which

lists

Jewish and non- Aryan musicians in alphabetical order, together with a thumbnail sketch of their careers.

The

book's despicable racism calls for no further commentary.

A copy of the autograph is in the archives of Durand and Company. The original

2.

document was

certainly signed, either

by Ravel or

for him,

and the following

letter is

Bruckner's reply.

343.

Hans Bruckner

to

Maurice Ravel

May

Das Deutsche Podium Fachblatt

fiir

21,

1937

Unterhaltungs-Musik

und Musik- Gaststatten Kampfblatt fur deutsche Musik

Hans Bruckner Verlag Miinchen^

Dear Meister I

to

Ravel! ^

have received your

letter, for

which

I

thank you very much, with reference

your entry in the book Jfudentum und Musik;

this entry

inform you most poHtely that

I

was taken from the 39th edition of the Handbuch der Jfudenfrage.^

Furthermore,

at the

time

my book was pubUshed,

in

many places

in

Germany

there was no uniform opinion concerning your ancestry.

However,

most

I

myself have taken pains to

politely that before

your

clarify all doubts,

letter arrived, I

from the forthcoming 3rd edition of

my

and

I

inform you

had already removed the entry

book.

I

will also rectify the entry in

future supplements to the previous editions, and will inform the appropriate

of the matter."^

official authorities

Yours very

truly,

Briickner 1 The German Podium, Professional Journal for Light Music and Musical Cafes, Combat Sheet for German Music, Hans Bruckner Publisher, Munich. 2. This letter was written in German. A copy of it is in the archives of Durand and

Company. 3.

Handbook of the Jewish

bibliography, and 4.

it

Question.

may have been

This work does not seem

to

be

listed in

any

circulated privately

A directly related question — the performance of Ravel's music in Germany— was

the topic of an exchange of letters between

Andre Frangois-Poncet, the French ambas-

Correspondence

sador to Germany, and Joseph Goebbels, the

November

German

21, 1936, the ambassador inquired if

boycotted in Germany. Replying on

December

it

:

:

:

^2j

minister of propaganda.

were true

that Ravel's

On

works were

minister of propaganda asserted

3, the

he had ordered an investigation into the matter, the result being that Ravel's music

that

was not boycotted,

either in the concert hall or

on German

radio. In

and he requested that

documents are

this

he maintained,

all,

Ravel's works were performed 36 times by various stations during the

1935-36 season,

information be forwarded to the composer. (Copies of these

in the archives

of Durand and Company.)

344. to Ernest Ansermet October 29, 1937

Paris,

My dear friend, cannot

I

tell

denial permits the realization

my very sincere

express

am by your very prompt decision: your selfof a project which was dear to me. Allow me to

you how touched

I

gratitude.^

To my knowledge, Jacques

Fevrier

is

the only one,

I

believe,

knows my concerto well enough to perform it immediately;^ which you

will easily

have been

told, is

But,

if a

Fevrier,

understand,

I

supposed to play

for several reasons

it

at a date

which

I

I

do not know.^

delay of three weeks doesn't strike you as impossible, Jacques

upon

his return

would thus express

from America

at the

his joy in

performing

it

end of November, would be

would be most convenient; he

my work under

your distinguished

baton, and acknowledge his gratitude to your audiences in I

presently

don't dare mention Alfred Cortot, who,

pleased to play the concerto for you whenever

sanne.

who

trust that

you

Geneva and Lau-

will find this suggestion acceptable."^

In renewing my grateful friendship to you, please believe me,

my dear friend,

very truly yours,

Maurice RaveP This episode has remained obscure.

1

2.

Fevrier had studied the Piano Concerto for the Left

performed

it

Miinch, on October 17 with Philippe

He

also played the

Concerto

ber 20) with the Boston 3.

in

Boston (November 12 and 13) and

Symphony Orchestra under

with Ravel, and

Ravel's falling out with Cortot

New York (Novem-

the baton of Serge Koussevitzky.

was somewhat analogous

Vifies (see letter no. 191). In this case, Cortot insisted

Left

Hand

on March 19 under the baton of Charles Gaubert, and on December 5 with Albert Wolff.

several times in Paris in 1937:

to the

one with Ricardo

on playing the Concerto for the

Hand with both hands, which Ravel found totally unacceptable.

(Cortot performed

the Concerto with Paul Paray conducting the Colonne Orchestra on

December

19,

I937-) 4. It

turned out that the Swiss pianist Jacqueline Blancard performed the premiere of

328

:

:

Correspondence

:

Geneva on November 8 and

the Concerto in Lausanne and

Ansermet conducting the Orchestra de

November 5.

This

la

Suisse

Romande

lo, 1937, with Ernest

(see iht Journal de Geneve,

12, 1937). letter

before his death,

was typed it is

345. Franqoise

who

for Ravel,

his last

Meyer

known

signed

himself. Written just eight

it

Doctor Robert Lemasle*

to

DECEMBER

PARIS

HOUR OF IT*S

weeks

letter.

28,

1 93

\

deposit: 07:45

OVER

FRANgOISE^ 1

A physician and personal friend of Ravel,

2.

This telegram was sent some four hours

Boileau in Paris.

He was

62 years

after Ravel's death at a clinic

on rue

old.

\ 346. Edouard Ravel to Jacques Rouche Mayatza

February 19, 1940

Saint-Jean-de-Luz

Dear I

Sir,

received your letter dated the 13th, as well as the scenario which you

forwarded to me. Let

me

reply to the question you raised in the following way:

My brother admired everything which was mechanical, from simple tin toys to the

most

machine

intricate

tools.

He would

thus spend entire days, around

new year, on the main boulevards, in front of street vendors' stalls, and was delighted to come with me to factories or to expositions of machinery. He was

the

happy

to

be

in the midst of these

movements and

noises.

But he always came

out struck and obsessed by the automation of all these mechanisms.

He

me of his plans for scenarios, but often, when passing by Le Vesinet, he showed me "the Bolero factory." Personally, knowing Leyritz's integrity, and his admiration for my brother, I have no doubt that the ideas never spoke to ^

expressed in the model and the scenario derive from the conversations which they had during their trip to I

hope

Morocco and

that this information will enable

Spain.

you

to

make

a well-informed deci-

sion. ^

Believe me, dear

Sir,

very truly yours,

Edouard RaveF 1

2.

A suburb to the west of Paris noted for its mechanical industry. A new production of the Bolero was presented at the Opera on December 29,

1941,

Correspondence

with choreography by Serge Lifar, decor and costumes by Fourestier conducting.

The

principal roles

Leon

:

Leyritz,

:

:

J2g

and Louis

were danced by Serge Lifar and Suzanne

Lorcia. 3. In the sixteenth division

gray granite

tomb with

of the small cemetery at Levallois Perret, there

is

a simple

the following inscription:

Joseph Ravel 1832- October 13, 1908

Marie Delouart Ravel 1840- January 5, 191 Maurice Ravel composer 1875- December 28, 1937 Edouard Ravel 1878- April 5, i960

—

Edouard Ravel married

—

late in life

of the Ravel family passed into

and

left

eternity.

no descendants. With

his death, this

branch

Articles (listed in Selected Bibliography)

i

I

I

I

4

Wagner and Today i Musicians:

The Opinions ofMessieurs Florent Schmitt

—

and Maurice Ravel

Conclusions^

Louis Laloy:

"M. Maurice Ravel is perfectly willing to render justice

Wagner, but does

to

not wish the progress of music to be stopped in his name: indeed,

it is

known

that the usual tactic of the conservative party, here as everywhere else,

condemn new institutions, but to when they grow old."

cling to

them with

a strength

to

is

born of despair

Maurice Ravel: "Truly, there would be far too

he was above It's

too

all,

late.

much to say about it. See

first

in

Wagner what

a magnificent musician.

After Nietzsche,^ CatuUe

Mendes, and M. Josephin Peladan,^

one would seem to be creating a paradox. ...

There

Is the is

wish so

strange.'*'^

Not

really! I

rediscovered

it

in

an old

article.

'Wagner' instead of 'Debussy,' and 'Rossini' in place of 'Wagner.'

It's

signed: Scudo."^

NOTES I.

Louis Laloy, La Grande Revue (May lo, 1909), 13(9)1160-64. In an

"Wagner et nos musiciens" {La Grande Revue, April

10, 1909, pp.

article entitled

558-566), Laloy cited

comment by Pierre Lalo in Le Temps, who observed that the younger generation in breaking with Wagner and seeking a more "pernicious" (Debussyian) influence. "The art of these young people," Lalo wrote, "amounts to the exploitation of

a recent

was wrong

some formulas; and

it is

becoming increasingly

trivial, trivial, trivial.

One would

almost

wish to restore Wagnerian influence in France." Laloy thought it would be interesting to consult "these young people" themselves, and hear their reactions to Lalo's suggestion.

Among the

twelve respondents were Alfredo Casella, Jean Hure, Raoul Laparra,

Armande de

Polignac, Albert Roussel,

Deodat de Severac, and,

by Schmitt and Ravel. Laloy concluded his beneficial for the gifted,

finally,

article as follows:

and demoralizing for the mediocre.

two

Mme

late replies

"Every influence

is

If our country is as sterile as

333

;^S4

•

•

Articles

•

the eminent critic of L^ Temps seems to believe, not in musicians, but in music,

Wagner who

will save it"

{La Grande Revue,

May

2.

See

3.

Peladan (1858- 191 8), a poet, novelist, theologian, and

p.

378, note

That

"GoUiwogg's Cake Walk" (1908) parodies

mente"

occultist,

letter no. 53,

Tristan

und

was a fervent

note 10).

the wish to return to Wagnerian influence in France.

is,

As Debussy's

the notation "Wagnera-

Isolde,

in Ravel's "Fanfare" for the ballet L'Eventail de Jeanne (1927) suggests a

natured poke

at the

isn't

3.

Wagnerian, as was his colleague CatuUe Mendes (see 4.

it

lo, 1909, p. 164).

composer of Gdtterddmmerung, who apparendy could be

good-

ridiculed,

but not ignored. 5.

The French critic

Scudo) was celebrated

Pierre

Scudo (1806- 1864,

attacked Berlioz, Liszt, and Wagner, and

music

(that

is,

also

known

for his extremely conservative views.

music written

as Pietro, Paulo, or Paul

He

admired Mozart, but

showed almost no enthusiasm

for

I

modern

after 1830).

A

(

I

i

The Polonaises, Nocturnes, Impromptus, Barcarolle 'Nothing

is

—

Impressions

the

'

more hateful than music without hidden meaning.

"

— FR^D^RIC CHOPIN

profound statement

his

T music to

Chopin proclaimed

be transferred

relatively

unknown. Even though

Chopin, music was addressed to the emotions.

which Chopin found

to the intellect, a notion

This

for musicians.

professionals,

is

constantly in his music, the contrary

was understood. Hidden meanings were discovered

later on! Until

Music

it

hang it!

is

the true

A musician

irrelevant.

meaning of Chopin's

composer or dilettante,

:

to

be

in his

Now it was

idea.

Not

rhythm, melody, harmony, and the atmosphere which the sounds create.

To

the linking of two chords, just as one would to the juxtaposition of two

thrill to

colors. In all the arts, the subject

from

for

sensitive to the

is

of primary importance, for everything flows

it.

Comparisons with architecture are inane. There are rules

making a

for

building "stand up," but there are none for constructing modulations. Yes, there

but one: inspiration.

is

music.

One

I

know

that there aren't

sets out needlessly, with anything at

all,

enough

rules in today's

hastening to modulate in

order to appear daring. Here, some chords reputed to be modern, and there, a so-called Chinese scale.

concludes at random.

The

architects

beforehand, and

—

it

if less

craftsman!

all

is

piece

of the modulations are estabUshed

themes, retrograde canons, clear or obscure modulathis.''

Don't worry, neither do

music doesn't strike you as coherent,

What

The

daring than in the works previously mentioned, they are

you don't understand

industry, if the

fashioning a hat, but less skilled.

necessary to begin?

draw up great plans:

just as useless. Inverted

tions

It's like

Was

lacking in

all

of this

is

it's

I.

Despite

all

of this

because you aren't a

having something to say: Chopin's

hidden meaning.

Some

examples: the dance, before Chopin, exhibited grace, gaiety, and

occasionally

some feehng.

It

was

all

a bit shallow, even in Schubert's Ldndler,

which, nevertheless, are delightful works.

335

jj6

:

:

Articles

:

Chopin's contribution

was a

festive

Moniuszko,^

how

Yet

i).

superior

is

its

heroic vehemence, and

the middle section. Often,

Chopin introduced

unknown

dances, which was hitherto

music

in

El?"^ is

already in

splendid rhythmic drive in

a sad, poignant element in these

Minor, opus 26 no.

At times,

i).^

this

such sublime heights that one may discover an entire

tragic feeling attains in the

(Ctt

its

(A

of his contemporaries in

to those

it is

superficial (see Weber,^

in this traditional style

and harmonic richness. The Grande Polonaise

another realm, with

epopee

and thoroughly

brilliant,

Only one polonaise by Chopin

etc.).

Major, opus 40 no. inspiration

obvious in the Polonaises: before him, the polonaise

is

march, solemn,

{Polonaise- Fantaisie in ^\> Major,

opus

61).

The sincerity of

expression, whether sorrowful or heroic, averts pomposity. Critics have already analyzed the

perception.

It is

Nocturnes and Impromptus with keen

the nature of genuine music to evoke, even indirectiy, feelings,

landscapes, and ideas.

Chopin was not merely

satisfied to

harmonic progressions. There veyed by an intense

The

material

the listener

is

is

poem

exquisite,

and profound

always hidden meaning, which

is

is

often con-

of despair.

even more condensed in the Nocturnes.

aroused, and

is

So much the

often satisfied.

Only an

be performed

after that?

perform

Chopin's music.

after

transform pianistic technique. His in-

work may be observed amidst brilliant,

spired passage

A

artist

of genius would

frequent reproach

is

The

better.

sensitivity

But what can

know which

pieces to

heard that Chopin did

not evolve. Agreed. If not evolutionary, the splendid flowering of his art

found

in the Polonaise-Fantaisie, the

of

posthumous Prelude (opus

is

and the

45),^

Barcarolle (opus 60).

The Barcarolle synthesizes the expressive and sumptuous art of this great Slav, who was nurtured on Italian music. This attractive Latin school, joyfully vibrant,

somewhat melancholy,

abandons,

if

not

places, so that

it

its

sensual, but of lamentable

soul, like Molina,^ at least

may

recapture

its

its

facility,

wiUingly

inspiration, in the worst

supreme excellence more

rapidly.

Chopin

achieved everything that his teachers had expressed only imperfectiy, through

negUgence. In the Barcarolle, the

theme

arrayed in dazzHng harmonies. gentie

in thirds, supple

The melodic

and

delicate, is continually

line is continuous.

melody appears, remains suspended, and subsides

by magical chords. The intensity increases. cism appears, thoroughly

Italianized.

Calm

A new theme is

restored.

At one

softiy,

point, a

underpinned

of sumptuous

A

lyri-

delicate, fleeting

passage arises from the bass, which hovers above exquisite, tender harmonies.

One

thinks of a mysterious apotheosis.

.

.

.

Articles

:

:

:

jj/

NOTES 1.

Le Courrier musical (January

musical,

i,

1910), 13:31-32. This special issue of Lf Courrier

honoring the centenary of Chopin's

birth, contains thirteen brief articles

deaHng with various aspects of the composer's formed Chopin's music during his art. It

is

only

In a letter to

fair to

warn the reader

Rene Doire,

cuts and changes

his student days,

made

life

and works. Ravel frequendy per-

and retained a

lifelong admiration for

that the text of this article

is partially

unreliable.

the editor of the magazine. Ravel complained bitterly of the

in his article

on Chopin, and

stated emphatically that he

have no further dealings with Le Courrier musical (excerpts from Ravel's

would

letter are in the

Fonds Montpensier, Music Division of the Bibliotheque Nationale). 2.

Carl Maria von

Grande Polonaise 3.

and the Polocca

polonaises for the piano, the

brillante in

E

(opus 72).

A marked nationalistic quality is found in the work of Stanislaw Moniuszko (1819-

1872), 4.

Weber (1786- 1826) composed two

in E\> (opus 21)

who composed

the Polish national opera Halka.

Inadvertendy "Grande Polonaise in Dl>" in the

Andante spianato

et

Grande Polonaise

"C

brillante,

Minor, opus 26" in the

5.

Inadvertently

6.

Inadvertendy "opus 46" in the

7.

The Spanish

text.

The work

in question is the

opus 22. text.

text.

Jesuit theologian Luis de

called Molinism, attempted to reconcile grace

Molina (153 5- 1600), whose doctrine, and

free will.

3

:

:

:

What Should Be Set Good Poetry

to

Music?

or Bad, Free Verse or Prose? Femand Divoire

Opinions presented by

he opinion of Maurice Ravel:

T

It

seems

to

me

that for truly poignant

and emotional

The

tions, free verse is preferable to regular verse.

situalatter,

however, can produce very beautiful things, on condition that the composer

wishes to disappear entirely behind the poet and agrees to follow his rhythms step by step, cadence by cadence, without ever displacing an accent or even an inflection. In a

word,

simply underline the

add anything I

to

musician wishes to set regular verse, his music

if the

poem and

sustain

but

it,

will

be unable to interpret

will it

or

it.

believe that if one

specifically dealing with

is

preferable to adopt free verse. Indeed,

it

emotion and

seems criminal

to

fantasy,

me

it is

to "spoil"

classical verses.

Why

some

in Faust, for example, there are

verses which are absolutely

massacred:

Ah!

je ris

de

me

voir

Si belle en ce miroir.-^

The composer wanted

a waltz.

He counted the number of feet in these lines

and found twelve. From that moment, nothing else mattered rhyme, nor any

detail

twelve syllables; you

of form: he wanted his waltz; the

know

librettist

wanted

his

je ris

De me En

voir

si

belle

ce miroir.

the strong accentuations

preferable there to use free verse or prose.

composer puts vocalizations and give a certain elan and

33S

him, neither the

the result

Ah!

And you know how

to

in the

fall. It

would

really

have been

The same would apply when the text. They are pretty, fresh,

middle of the

crystalline qualit>' to the melody.

But the Ah! Ah!

Articles

Ah! Ah! Ahs! length,

Prose in

.

.

.

situated in the middle of an Alexandrine give

between seventeen and twenty-five

which

is

sometimes very pleasant to

it is

feet,

which

set to music,

is

:

it

:

:

339

a variable

not useful.

and there are circumstances

marvelously appropriate to the subject. Thus,

I

selected several of

Jules Renard's Histoires naturelles; they are delicate and rhythmic, but rhythmic in a completely different Pelleas et

way from

classical verses.

Melisande could only have been set to prose. Nothing else would

have permitted Debussy to render the stylized naivete and simple affectation of these missal- or tapestry-like characters with such delicacy.

NOTES 1.

Musica (February and March 191

appear on pp. 59-60.

1),

pp.

38-40 and 58-60.

Ravel's

comments

Among the nineteen replies to the inquiry were those of Debussy,

Dukas, Faure, d'Indy, and poets Pierre Louys and Henri de Regnier. 2.

Marguerite's "Jewel Song" from act three of Gounod's Faust (1859), libretto by

Jules Barbier and Michel Carre:

Ah!

So

I

laugh to see myself

beautiful in this mirror.

The Lamoureux Orchestra

t

seems odd that musical

Concerts^

criticism

rather infrequently en-

is

No doubt,

trusted to professional musicians.

they have better things to do, and with

which are works of art themselves, a review, even

tions,

necessity inferior to a composition, however mediocre

may

however honorable

fear that professionals,

it

if

assumed

it is

some

brilliant

perspicacious,

if

judgments of

who

exempt from

critics

not always be skillfully

more modest opinion would lead one to suspect. month by the Lamoureux Or-

To tell the truth, there were no

performances, except for an important scene from Eros vainqueur, a French

opera of great musical distinction, which foreigners while

we

were so

are

little

By an

condemned

to savor

known,

it

that

irony of fate, the

pour une Infante defunte^

enough

to let

longer see

me

retreat

in fragments.^

was

interesting to have

first

piece which

I

feel

interpretation of this imperfect deal,

I

think, to

Many

its

I

I

its

in

to critic.

perceive

may

enjoy in

its

its

entirety,

But most of the other pieces

them performed once

must evaluate

no constraint

from composer

virtues. But, alas!

its

it

excessive influence of Chabrier, and

is

speaking about

From such

again.

my own Pavane it:

old

it is

a distance,

I

no

shortcomings very well: the

rather poor form.

The remarkable

and unadventurous work contributed a great

success.

who applauded the Pavane, demonstrated against poem Les Ideals.^ No doubt, this work of genius may seem a

in the audience

Liszt's brilliant tone bit

may

four most recent concerts given this

chestra offered an exceptionally varied program. first

may be

acknowledge, however, that the

are not professional musicians

that a

of

their motives, aren't always

Quite often, a vehement ardor in the attack

this passion.

masks the incompetence

The

One must

not worse. ^

is

may be. Moreover, one

capable of judging with complete independence, and that their opinions

suUied with passion,

that

excep-

long on

first

hearing. But

is it

merung, whose success at the

really longer

than the

same concert was

final

scene ofGotterddm-

unanimous.''

Of course, I know that the finale was sung by Lucienne Breval^ in such a way as to

make us

now

at

which

340

forget the

our concerts. this great artist

most renowned Wagnerian singers we have heard

And

until

that, despite Ernst's disconcerting gibberish,^ in

was obliged

to express herself.

I

also admit that the

Articles

audience's rapture over this extraordinary performance was

But

fied.

as everyone

knows, the

finale, as well as the rest

received with the same enthusiasm at

longer than Les

creation.

its

It

:

J41

more than

justi-

:

:

of the opera, was not

must have seemed even

Ideals.

Furthermore, of what importance are the shortcomings of this piece, or of all the works of

Are there not enough good

Liszt.''

qualities in this

tumultuous

and magnificent chaos of musical material, which several

ebullition, in this vast

generations of illustrious composers have imbibed.^ It is

in large part

due

to these shortcomings,

it is

true, that

Wagner owes

his

overly declamatory vehemence, Strauss, his weighty enthusiasm, Franck, the

heaviness of his elevation, the Russian school,

its

occasionally gaudy pictur-

esqueness, and the present French school, the extreme coquettishness of

harmonic charm. Yet do not these composers, who are so

dissimilar,

owe

its

the

best of their good qualities to the musical generosity, truly prodigious, of this great precursor? Within this form, often clumsy, always effusive, doesn't one distinguish the

has

ity,

it

embryo of the ingenious,

And

Saint-Saens.^

facile

and limpid development of

the dazzling orchestration, v^dth

its

powerful yet light sonor-

not exercised considerable influence on Liszt's most avowed oppo-

nents.^

There

is

a certain irony in the fact that

of Franck, who, disciples less

among

most of these opponents were pupils

his contemporaries,

were careful not

to follow the

and heavy orchestration often

This reproach does not apply

to

he appears

the most to Liszt. Franck's

example of their teacher, whose color-

spoils the beauty of his ideas.

any of the three composers of the Franckist

school whose works were recendy heard. palette in his

owed

M. Witkowski

Second Symphony, but the colors seem

to

have been guided by

ably uses a brilliant

artificial.^

This

is

because

will alone in this composition. Several brief

sequential passages, treated in academic fashion (augmentation, inversion),

form the basis of the melody. The harmony

is

almost always the result of

contrapuntal encounters; the rhythm, of industrious deformations. Thus, the three elements of music, all

whose conception should be simultaneous and above

instinctive, are elaborated separately,

and are linked, one might

say,

by

purely intellectual workmanship.

The academic symphony make

techniques which abound in the three movements of this it all

too clear that

task of presenting an idea

may.

it

in a particular

How far this repulsive intellectual logic is

behind

this

moment

from

himself the

manner, come what

sensibility! Nevertheless,

dour mask, one discerns a profound, vibrant musician

— one who

vexations imposed

mas.

M. Witkowski imposed upon

and developing

at

every

could not easily have accepted the discipline and the

upon him

in the

name of I-don't-know-what absurd dog-

342

:

:

Articles

:

Ernest Chausson's Poeme de I 'amour et de

la

mer^

the outset of this piece, inspiration sustains the

form a

unity.

is

altogether different: from

melody and the harmony, which

A mood of gentle enchantment is revealed, whose memory will be

happily preserved during the needless and clumsy confusion found in the

thematic development, which weakens this otherwise very musical work. orchestration, if at times a bit heavy,

is

landscapes evoked by the poet with remarkable

The orchestral talents of M.

The

always captivating, interpreting the skill.

Pierre de Breville are Ukewise superior to those

of his teacher. His elegant harmony and distinctive melodic color are revealed in

shimmering sonorities of tranquil picturesqueness.^^

work

more dramatic

preferred a

I

might reproach

tameness of inspiration. In some passages,

for a certain

expression,

I

this

would have

somewhat crude, which can move even

the most fastidious audience. But should one reproach this artist for excessive

modesty, and for disdaining those

by means of which some of

facile "tricks,"

his colleagues achieve notoriety.'' I

seem to be making the same mistake that I was complaining about in others.

What's the use of looking for imperfections in a work which delightful.^

Do

I

I

found

utterly

always have to be such a professional?

NOTES 1. title

Revue musicale de of this

article

mentions that he

comment on

la

S.I.M. (February 15, 191 2), 8(2):62-63. In the autograph, the

("Lamoureux Concert")

is

is

written in another hand. However, Ravel

reviewing four (Sunday afternoon) concerts.

every piece,

and among

He could not of course

the other works which were performed,

we may

note the following: Beethoven's 7th Symphony, Debussy's Noaumes, Mozart's Piano

Concerto in C Minor, Rimsky-Korsakov's Scheherazade, Schumann's 4th Symphony and his Overture, Scherzo, 2.

and Finale. The programs were conducted by Camille Chevillard.

For whatever reason, a controversial paragraph was deleted from Ravel's

which would have been inserted In fact, short

I

have just received an

article written

by

M. Gaston Carraud

work of mine which was recendy produced. The

serious accusation which can be brought against an

the

critic's

own words, my works

person than a colleague dared Writing in

La L/^fft/ on January

ballet version of

to

make such

The

"wow"

the public.

No

less a

a statement. (See plate 14.)

30, 19 12, Carraud explained that he would review the

following day, and called

it

a "very pleasant tiny

review on January 31, however, was highly negative, and

orchestrate an old one. "For the

and a greater desire

most

the lack of sincerity. In

Carraud even suggested that Ravel should have written a new

natural,

concerning a

article contains the

artist:

aim, in general, to

Ma Mere VOye the

choreographic fantasy."

article,

at this point.

to

first

time," he noted,

amuse himself and us

"M. Ravel

score, rather than

indicates something

discreedy, rather than 'wow' us."

Articles

3.

Triumphant Eros, an opera in three

Pierre de Breville, in Brussels

was

on March

19 10.

7,

2,

and the

aria

:

:

J4J

with Hbretto by Jean Lorrain and music by at the

Theatre de

la

Monnaie

Parisian debut finally took place at the

Its

Comique on February 8, 1932. Two music from act

acts,

performed with great success

first

:

Opera-

excerpts from the opera were performed, the ballet

of Eros, sung by the celebrated French mezzo-soprano

Claire Croiza (1882- 1946). 4.

Composed

5.

Based on

in 1899, the

Schiller's

Pavane was orchestrated

in 1910.

poem Dieldeale. Rather curiously.

name as "Listz." The noted French soprano (1869- 193 5) enjoyed

Ravel consistentiy misspells

Liszt's 6.

a distinguished international

career. 7.

six

The French

of Wagner's

8.

rhythmic French prose.

Schola Cantorum. His Second Symphony was published by Durand in 1910, and

from 1924

Lyon

to

1

94 1 he was the director of the Conservatory in Lyon. He was also active Grands-Concerts and the Concerts

as a conductor, directing the Societe des

Witkowski (see 9.

Alfred Ernst (i860- 1898), a passionate Wagnerian, translated

Georges-Martin Witkowski (1867- 1943) studied composition with Vincent d'Indy

at the

in

critic

libretti into

letter no. 82,

note

7).

Chausson's piece (1882-90, revised in 1893), for voice and orchestra,

poetry of Maurice Buchor. 10. Referring

once again

It

was sung by one

to the excerpts

Madame

from

is set

Bloomfield-Zeisler.

Breville's opera.

to the

5

:

:

:

The Lamoureux Orchestra

hat long patience, or

will, in

Concerts^

which, unfortunately, Buffon^

believed he had discovered the very essence of genius,

Ti

in fact, a useful assistant.

artistic creation,

can be established only by

The

is

principle oi genius, that

instinct, or sensibility.

only, is

of

What was

in

mind perhaps nothing but a whim, has given rise to a more serious which is relatively modern the assumption that will alone can direct

BufFon's error,

—

artistic instinct.

An

should only be the attentive servant of his

artist's will

lucid servant,

who must

intelligently

instinct: a robust,

obey the orders of his master, yielding

to

his slightest caprice, facilitating the pursuit of his path, never attempting to

detour him from

it;

helping him to adorn himself magnificently, but never

from

selecting any garment

his cast-off clothing,

Sometimes, however, the master

The

support him, even guide him.

is

so

weak

no matter how sumptuous.

that the servant

domain of music. Certain

paltry, at least in the

is

obliged to

results of this halting association are rather listeners,

who

are rather

insensitive themselves, nevertheless appear satisfied with these results.

In these tedious works, one "craft."

Now,

is

particularly

in art, craft, in the absolute sense of the

harmonious proportion of a work, and inspiration

This

is

is

virtually unlimited.

what appears most

evident in the

Lamoureux

tempted

Symphony

concerts.

in

The

to

word, cannot

in the elegance of

will to

its

is

called

exist.

In the

flow, the role

develop can only be

clearly in the majority of

D

esteem what

Brahms' works.

Major, which was recently performed

The themes bespeak an

of

sterile. It

was

at the

intimate and gentle musicality;

although their melodic contour and rhythm are very personal, they are directly related to those of Schubert

and Schumann. Scarcely have they been presented

than their progress becomes heavy and laborious.

was ceaselessly haunted by the desire

Now the

to equal

It

seems

that the

composer

Beethoven.

charming nature of Brahms' inspiration was incompatible with

vast, passionate,

his

almost extravagant developments, which are the direct result

of Beethovenian themes, or rather, themes which spring from Beethovenian inspiration.

344

This

craft,

which

his predecessor

Schubert was deprived of natu-

Articles

was acquired by Brahms through

ralfyj

He

study.

:

did not discover

:

:

J4^

within

it

himself.

Does a similar phenomenon account for the disappointment one experiences with each

new hearing of Cesar Franck's Symphony.^ Probably so, even though much in their themes as in their

these two symphonies are very different, as

development.^ Their

however, emanate from the same source: a similar

faults,

With Brahms,

disproportion between the themes and their development.

and simple

clear

inspiration,

sometimes

playful,

a

sometimes melancholy;

learned developments which are grandiloquent, complicated, and heavy. With Franck, melody of an elevated and serene character, bold harmonies of particular richness;

master there

The

but a distressing poverty of form.

is skillful,

but one perceives too

much

best an attempt at structure: groups of measures

is at

German

structure of the

contrivance. In Franck's work,

up

to entire

pages

are repeated, transposed textually; he awkwardly abuses out-of-date academic

formulas. Brahms' superiority chestral technique,

which

is

is

clearly seen in

extremely

one respect, namely,

brilliant.

his or-

In Franck's work, on the

contrary, the errors in orchestration accumulate. Here, the double basses drag

along clumsily, weighing

down an

There, noisy trumpets double the peak, one It is

is

violins. Just

when

the inspiration

not surprising that in Germany, just as in France, Brahms and Franck

elicit

in order to

combat Wagnerian influence

reactions of indifference

to

its

art, it is

which

is

felt for

understandable that after

of the

when one

hears

this explosion

of pagan

vitality,

of joy

the need

a peaceful, even austere, retreat.

In France, this meditation produced various results: cloister, there

the sensibility of

one of the most representative

suffering, after this roaring outburst

must have been

all

powerful attraction. Even today,

the resounding Venusberg music,

and passionate

flaws

must have disturbed even those who were among the

have experienced

examples of Wagner's

whose

they,

movement of reaction.

Wagner's extraordinary spontaneity, which synthesized the nineteenth century,

—

and boredom. This very peculiarity of their

genius designated them as precipitators of the inevitable

first

is at its

disconcerted by extraneous sonorities.

were singled out often

already lusterless passage for the strings.

first,

from the Franckist

emerged a solemn procession of composers who were devotees

artist's will,

and

their faith in

it

became only

stronger.

organized group of young, free-spirited people appeared,

much more by

Then,

a less

who were guided

their instinct; their sensibility strove to perceive

its

slightest

external manifestations profoundly, and with more subtlety than their pre-

decessors.

Recently,

leader of the

M.

Chevillard"^ reintroduced Saugefleurie,

first

by Vincent d'Indy, the

group. In this symphonic poem, one can already ascertain the

34^

:

:

principles

and

rich

Articles

:

which guide the composer's form

colorful, the

is clear.

artistic

behavior.

domain of pure

final result, that

—

This principle, pushed

will.

orchestration

is

But one discovers a disdain of natural

harmony, of spontaneous rhythm, of free melody in the

The

in a word, of everything not to

must

its limits,

give, as a

musical abstraction, d'Indy's Sonata for piano.

The second group may be legitimately linked with the Russian school, which contributed significantiy to the blossoming of our generation's musical sen-

Two

sibility.

of the most characteristic works of

were performed

this school

in recent programs: Borodin's In the Steppes of Central Asia,

an ingenuous

work, whose musicality and impressionism are so penetrating; and Islamey, by Balakirev,^ orchestrated I

would venture

to call Islamey a masterpiece.

work being purely odd

by Alfredo Casella.

need

pianistic, the

to certain people.

Some even

for

The original conception of this

an orchestral transcription seemed

cried "sacrilege," yet they accept a piano

transcription or even a paraphrase of an orchestral Personally,

form. to

It

I

must admit

that

would have been

reproduce pianistic

I

work without complaining.

thoroughly enjoyed hearing

practically impossible,

effects in the orchestra.

this piece in its

and probably rather

new

fruitiess,

While scrupulously respecting

M. Casella chose to interpret it boldly, rather than The complex orchestration, very full, nevertheless light,

the work's musical material,

simply transfer

transformed a

it.

brilliant fantasy for the

piano into an equally

brilliant orchestral

piece.

At the same concert, the

ballet

Miracle was performed, which

pleased to

I

music from Georges Hiie's

had previously heard

reencounter the feeling of spontaneity which had

in these lilting, folklike dances, with their ingenious

again,

I

at the

was delighted

to savor

imaginable, which occurs,

I

one of the most

believe, in the

lyric

drama Le

Opera.^

I

was

first impressed

me

and varied rhythms. Once

attractive orchestral sonorities

second variation of the "Bear's

Dance."7

On

February 25, the Colonne concert presented

its first

performance of

Florent Schmitt's Psalm XLVI, an important and highly distinguished work.^

That very day, the

finest,

eagerly rushed to the

This

pianist,

who

work It is

That

is

in order to acclaim

has been applauded on several occasions

an extraordinary virtuoso a

most curious, and the most artistic public

Lamoureux concert

as beautiful as

—

it is

in the

M. Emil

— he

is,

world

Sauer.^

moreover,

gave a brilliant rendition of Liszt's Concerto in

El?,

well known.

not customary to grant composers the same attention as interpreters.

why the public responded with

less

enthusiasm to the Children

's

Comer

by Claude Debussy, orchestrated by Andre Caplet with subtie refinement.

These short pieces But there

is

are obviously nothing but a great artist

more music

in a single

measure of

this

amusing himself.

work than

in all of Les

Articles

Impressions dltalie, that interminable suite written

Prix de

Rome, which formerly earned

its skillful

:

:

j^/

:

by a grateful winner of the

author the touching esteem of

most venerable members.*^

the Institute's

NOTES S.I.M. (March 191 2), 8(3):50-52.

1.

Revue musicale de

2.

The eminent naturalist Georges-Louis Leclerc, Comte de Buffon (1707- 1788), is

best

remembered

la

for his

imposing Histoire

Renard borrowed Buffon's

patience and genius appeared in the

naturelle,

first

discourse of the Histoire naturelle,

Study and Deal With Natural History," published Natural History, taken in

its

published in 44 volumes (Jules

animal sketches). Buffon's observations about

tide for his

broadest sense,

is

"How

to

in 1749.

an immense History, embracing

all

of the objects found in the Universe. This prodigious multitude of Quadrupeds, Birds, Fish, Insects, Plants, Minerals, etc., presents a vast spectacle to the curiosity

of the

human mind, whose totality is so great that its details seem and are in fact The most skillful Observers, after working for several years, have

inexhaustible

only produced rather imperfect sketches of the excessively multiple objects which the particular branches of Natural History contain, which they have examined minutely. However, they did servers for the assiduity is

and

what they could, and

far

from blaming these Ob-

meager advancement of Science, we cannot

their patience;

a sort of force of genius

sufficientiy praise their

we must accord them even nobler attributes,

and of intellectual courage

to

be able

for there

to envision Nature,

without being amazed, in the innumerable multitude of its manifestations, and to believe oneself capable of understanding 3.

and comparing them.

Brahms' Second Symphony dates from 1877, and Franck's Symphony was com-

pleted in 1888. 4.

Camille Chevillard (1859-1923) studied composition with Chabrier, but

remembered

as the principal conductor of the

he conducted the 5.

first

performance of L^

Lamoureux Orchestra. In

Valse.

second version in 1902), which was generally thought to be the ultimate even more

he informed Maurice Delage that Gaspard de

difficult to play,

This opera

at the

which

in fact

in five acts with libretto

Opera on December

Conservatoire,

won

Rome

(1858- 1948; see plate

in 1879,

and went on

Siang Sin, was performed over one hundred times

This passage, marked Allegro

keyboard

would be

it is.

30, 1910. Hiie

the Prix de

in

la nuit

by P.B. Gheusi and A. Merane was introduced

to

brillante,

at the

3) studied at the

compose

music which enjoyed considerable popularity during his lifetime

7.

best

Ravel was particularly impressed by Balakirev's oriental fantasy Islamey (1869,

virtuosity. Nevertheless,

6.

is

this capacity,

(a

a large

body of

ballet-pantomime,

Opera).

indicates the influence of

Rimsky-

Korsakov's colorful orchestration, with an active percussion section (especially the tympani, bass drum, and cymbals), closely spaced vmting for the brass, fleeting

S4S

:

:

:

Articles

arpeggios in the clarinets, and the melody mostly in the strings.

The

texture

is

light

throughout.

The French

8.

Completed

text

of

this piece is

taken from Psalm 47 (46 in the Vulgate).

in 1904, this massive, dramatic

work calls

for a large orchestra, organ,

mixed

chorus, and soprano soloist. 9.

The German pianist Emil von Sauer (1862- 1942) trained with Moscow Conservatory, and studied briefly with Liszt.

stein at the 10.

See

letter no. 6,

note

4.

Nicholas Rubin-

Symphonic Scenes

by Monsieur Fanelli

n unrecognized genius." "A French Wagner." "Incomparable

The

A daily press

in launching a

is

duty.

truly abusing

at the

Colonne con-

almighty power! If it wants to be involved

its

wonder drug, well and good.

tional conflicts for

industry by

and sublime." "Everyone: rendezvous cert next Sunday."

its

own

If

it

attempts to provoke interna-

financial self-interest, or to revive a defaulting

means of so-called

patriotic subscriptions, that

is its

right, if not its

We have already relinquished politics, commercial ventures, and even the

theater to

it.

But, at least, the press should leave art to us!

For more than a week, the daily papers have continuously written about Fanelli,^

who was

too

little

known

until

now.

We were

he struggled to earn his living as a copyist, barely having enough to his

daughter was working in order to obtain a teaching diploma.

about the poignant emotions which his score engendered in

and the Colonne Orchestra, as well as

Mme Judith

M.

informed each day how

M.

eat,

We

and how learned

Gabriel Pierne

Gautier^ and

M. Bene-

dictus."^

These demeaning

journalistic techniques, presented in installments like a

second-rate novel, produced a most ridiculous and distressing manifestation:

mid-Lenten crowd repeatedly screamed "Fa-ne-Ui!,

for a quarter of an hour, a

man had M. Fanelli

be dragged on

This consoling

Fa-ne-Ui!", until the poor

to

ovation rectified nothing;

deserves better than that.

stage.

This American-style advertising should certainly excite the fans of Nick Carter.^ critics,

On

the other hand,

it

provoked the

distrust of

composers

whose profession requires prudence. Some of the

geous enough to maintain their prejudices. Nevertheless, is

critics

this

as well as

were coura-

composer's case

remarkable: completely isolated in 1883, he devoted himself to researches

time

when no one in France was

certainly very different

from that of present-day

which are commonly labeled

impressionist, at a

concerned with impressionism.

This impressionism

is

composers. In his youth,

M.

Fanelli

was probably unaware of certain works by

Liszt,

and was surely unacquainted with the works of Rimsky-Korsakov, Bala-

kirev,

Mussorgsky, and Borodin, which inspired the younger French school.

M.

349

JSO

:

:

Articles

:

impressionism derives more directly from Berlioz, whose perception

Fanelli's

of the sounds of nature

more

hardly

is

hardly stylized.

Roman

satisfying than the

The melodic and harmonic interest is

Carnival overture, or certain passages of

Romeo and Juliet.^

Be

that as

it

may, and above

composition

Fanelli's

atmosphere

is

all,

beginning of the

at the

it was written, M. One may note the overly dense

placing oneself in the time

of the greatest interest.

the strident whining of the

first part,

lammergeiers, and the slave's lament in the distance, despite

its

somewhat

conventional orientalism; in the second part, the dazzling effect of a fleet of

motiey ships; in the third part, the ceaseless rolling of rumbling chariots

accompanied by bursts of fanfares

on

first

—

all

of this was expressed,

it

amazed the audience, had the Colonne Orchestra performed

poem in time. The

seemed

at least

most picturesque orchestration alone, which would have

hearing, by the

this

symphonic

reception probably would not have been so unanimous; but

the performers, rather than shedding tears, would have at least smiled.

same audience would only have applauded more liant Fireworks

at the first

Above

by Igor Stravinsky. Perhaps

it

would simply have cried hush!,

performance of The Afternoon of a Faun, which

all,

the investigations of the

those of his colleagues.

young

as

encores today.^

it

Fanelli could not have diminished

pecuHar that these investigations, which

It is

The

enthusiastically for the bril-

until

now

were considered negligible by some, suddenly assume extraordinary importance because their embryo

is

discovered in a work written thirty years ago.

This noble courage, which consists of crushing the innovations of troublesome contemporaries with the innovations of their predecessors, has uncovered the source of Claude Debussy's impressionism in

One state

critic,

carried

M.

Fanelli's piece.

away by his own enthusiasm, even thought it necessary to

point-blank that in this symphonic poem, "the conception and the har-

monic language are

clearly Debussyian, or rather pre-Debussyian,"

because "M. Fanelli abuses discovery and a novelty."

upon the whole -tone middle of the

is

It is

already

By

scale.

that, the

Now

last century, this

who

then by Dargomijsky, Guest

successions

based on

thirds,

honorable

no doubt

which, in 1883, was a

critic

means chords based

he was apparentiy unaware that about the

technique was already used,

more than abuse

it:

first

by

and

Liszt,^

an entire act of The Stone

this scale.^

customary for

knew that the

Satie, that his stage

M. Debussy

to

undergo a yearly attack of this

sort.

We

discovery of his harmonic system was entirely due to Erik

works derived from Mussorgsky, and

from Rimsky-Korsakov. spite this paucity

did

of major

We now know

his orchestration

the source of his impressionism.

De-

of invention, Debussy only remains the most important and

profoundly musical composer living today.

As

for

M.

Fanelli,

I

do not know many French musicians of his generation

Articles

who

much for his

could be compared with him in 1883, as

power of his

as for the

:

j^i

:

:

orchestral boldness

inspiration.^^

NOTES 1

"Les 'Tableaux symphoniques' de M.

Fanelli," Revue musicale de la S.I.M. (April

1912), 8(4):55-56. 2.

Ernest Fanelli

(i

860-191 7),

a pupil of Leo Delibes,

composed

a handful of works.

Although his music and personal career became a cause celebre, both are now virtually forgotten. 3.

Mme Gautier (1850-1918), the daughter of Theophile Gautier, was an important

author in her

own

right,

and music.

orientalism

Le Roman de

Gautier's

symphonic poem was 4.

whose essays and novels

Fanelli's piece, la

which

is

reflected her particular interest in

dedicated to her,

based on Theophile

is

momie (The Novel of the Mummy). Completed

first

in 1883, the

performed in 191 2.

Edouard Benedictus had

set several

ofJudith Gautier's poems to music (see

letter

no. 53, note 3). 5.

This

fictional

American detective was the hero of more than 1,000 dime novels

written by various authors. 6.

Although he called Berlioz a "genius," Ravel's enthusiasm for

his

music was

limited (see p. 461). 7.

Despite Ravel's observation, Debussy's work was repeated

December

23, 1894. In his memoirs, the Swiss conductor Gustave

at its

premiere on

Doret (1866- 1943)

recalled the Societe Nationale concert as follows:

The

hall is

packed.

An

impressive silence reigns

Barrere reveals his opening theme. Suddenly, ability

of certain conductors!

—

I

feel

And

my back

I

do not

the orchestra, delighted, joyfully repeated the

8.

la

it is

flutist

a special is

so

hesitate to break the

work

it

imposed upon the conquered public. (Gustave Doret, Temps bourg: Editions de

—

The triumph

a completely captivated public!

complete that despite the rule forbidding encores rule.

when our marvelous

behind

had loved and had

et

Contretemps, Fri-

Librairie de I'Universite, 1942, p. 96.)

Successions of major thirds appear in the opening passage of Liszt's Faust Sym-

phony (1854). 9.

Alexander Dargomijsky (18 13- 1869)

left this

opera incomplete

at his death. It was

finished in 1872 by Cesar Cui, with orchestration by Rimsky-Korsakov. 10.

Another critique of FaneUi's piece was written by Claude Debussy, who observed

the following:

For the

moment he

demands

is

rather too concerned with obeying that familiar spirit which

that he should pile

more and more notes on top of one another without

concerning himself with the overall proportions. aspect of music, which sometimes leads

him

He is very aware of the decorative to concentrate too

much on

the

JS2

:

:

:

Articles

description of minute details; he forgets that music can be persuasive in right.

Let us hope that he

will

have time

to take stock

of himself:

life

its

own

owes him that.

Meanwhile, we should afford him our generous support. {Revue musicale de

la

S.LM., March 15, 19 13, pp. 48-49; translation taken from Frangois Lesure, Debussy on Music, trans. Richard L. Smith,

New York:

Knopf, 1977,

p.

285.)

(

7

:

:

:

The Witch

at the Opera- Comiqtie^

On

he underground caverns of the Inquisition.

T

the wall, an

impressive representation of Christ, wrapped in the Spanish

manner

of torture.

in a black velvet loincloth.

An inquisitor and

On the

stage, instruments

his assistants are clad in leather aprons, which,

inexplicable reserve, appear unsoiled

the theater with hysterical laughter

by bloody

stains.

and hideous

A

demented witch

shrieks. Cardinal

by

fills

Jimenez^

himself does not hesitate to take part in wringing the defendants' wrists in order to expedite confessions.

The

lofty philosophical

Moorish maidservant,

revealed: Zoraya, a

incompatibility of torture

scope of the opera

and the teachings of the gospel.

mentions that "Victorien Sardou's^ personal

specifically

is

cries out in a Voltairian tirade

A

then

on the

program note

belief,

based upon

meticulous study, reflection, and scientific research," led him to discover that there are but two types of witches: neurotic and simple-minded. At the outset

of the twentieth century, the boldness of this conclusion

Despite

all

the thrilling elements lavished

audience was disappointed

when

is

truly astonishing.

upon the fourth

the curtain

fell:

act,

most of the

the instruments of torture

were not used. Several years ago, the Gaite-Lyrique theater presented an operatic spectacle

whose had

least

M. Perier"^ The composer, M. Nougues,

shortcoming was the absence of lyricism. At one point,

to spit out his

tongue in a torrent of blood.

specifically omitted

music in

this delicate scene,

perhaps intentionally.^

But M. Erlanger^ is a musician, and cannot conceal this moment. Thus, unless he decided beforehand to sacrifice his the facile effects ofverismo horror,

it is

composing an opera based upon

this

difficult to

fact

even for a

natural gifts for

understand his reasons^ for

melodrama, which, stricdy speaking,

could have served as a pretext for the obsolete formulas of bygone operas.

No

doubt, the

first

three acts offered the

composer some obvious, but

attractive situations: in the first act, the apparition of

and the scene which

follows; the prelude

Zoraya in the moonlight,

and beginning of

act two,

whose

enchanting musical color features the voice mingling harmoniously with the ringing of bells; the Spanish and oriental atmosphere, which, in

my opinion, M. 3S3

S54

'

'

Articles

•

Erlanger could have taken advantage of with greater abandon. These poetic

and picturesque elements are treated successfully most of the time.

But one senses

that the restless audience accepts these three acts of music as

an overly slow preparation for the expected

torture. Attracted

the Inquisition, which are reproduced in the program,

by the scenes of

young

ladies,

who

are

customarily escorted to the Opera-Comique, expected a foretaste of the

Grand-Guignol,^ where they

From

this

be able to go without

will

fear,

once married.

long awaited fourth act until the denouement of the opera, in which

the emotionalism of the stake lies in store for the audience, one's attention riveted by a spectacle in

In general, this music

The rhythms

are

writing, however,

more is

which music can only seem

seemed more

direct,

and the

natural than

I

all

M.

of the vocal music written in our time.

example that we owe

composers

M.

—

for the

this sort

Erlanger's other works. is

The

clearer.

vocal

admit that this shortcoming is neither

peculiar to this work, nor even to other works by

almost

alien.

M.

overall conception

extremely scabrous.

is

of contempt

Erlanger.

It is

—which

to

One

finds

it

in

Wagner's dangerous

affects

most of today's

most expressive of sonorous instruments.

Erlanger pushes this contempt to the extreme. Nothing less than Mile

Chenal's powerful and brilliant voice would have been heard above the orchestration, which, although often picturesque,

was uniformly too heavy,

thereby prohibiting any gradations of color. Without respite or apparent fatigue, this extraordinary artist

performed the most perilous leaps required

by the composer.

The

vigorous accents of the

Wagner's idiom, account for language, is

it

this

German

language, and particularly those of

animated declamation. Applied

necessary in the theater, can only suffer as a result. Even

clarity

of diction

intelligible.

to the

As

is

for

exceptional, did not always succeed in

M.

Beyle,

M.

French

text,

which

Perier,

whose

becomes paradoxical, and the comprehensibility of the

making every word

whose ardent and musical voice

is

well

known.

Mile Vallin, whose moving performance was achieved by the simplest of means,

and the other satisfied

if,

artists

who performed

their

secondary roles perfectly, one was

by chance, one occasionally managed to discern some words with

correct prosody.

With regard to the role of Afrida, subtieties of her lines.

rehearsal, laughed, shrieked, justly

the hysterical witch, one need not grasp the

Mile Espinasse, who performed

that she

merited the ovation offered by a horrified, entranced audience.

The Opera-Comique's

excellent orchestra,

which M. Ruhlmann^ con-

ducted with expert control, brilliandy performed important in I

this role at the dress

and gesticulated with such vehemence,

its role,

which

is

extremely

this score.

find myself very embarrassed:

musm't

I

discuss the decor and the produc-

Articles

tion? Unfortunately,

of my aesthetic aspirations.

all

To be

and picturesqueness are lavished upon the decor. Thus,

is

too

in a

j^^

sure, inge-

in the first act, all

and what not? But

trees, hills, crags, rivers, bridges, illuminated cities,

microcosm, which

:

and of human industry are meticulously represented:

the products of nature

would be so even

:

turns out that both of these important components of

it

theatrical art run counter to

nuity

:

cramped on the

more spacious

Opera-Comique, and

stage of the

one searches in vain

setting,

in this

for the

most

essential attribute of theatrical decor: style.

The

great nineteenth-century scenery painters mastered this style, and,

moreover, they modified

it

in

accordance with the work being presented: act

two ofLes Huguenots, the cathedral in Faust,^^ these masters

— nowadays made

ferior successors,

who

apply

trivial

them

etc.

amateurs, whose the spectators

to decor, artistic

who

one must admit,

penchants appear

still

serve their in-

belong.

of

gratifies the taste

loftier in

a jumble of colors,

have a similar painting in their

At the Theatre des

own drawing

other situations.

many

Among

when the curtain rose on a how many would be pleased to

resist

Plot's ^^ beautiful decor,

room.-^

Act Three ofldomeneo and

Arts:

La Source Lointaine [The could not

may

still

—

out a gasp of admiration

let

Moorish garden displaying

I

obsolete techniques of

work ancient or modern,

indifferently to any

or to whatever nationality or school a composer

This approach

The

and complicated

Distant Source]

comparing the feeble decor of The Witch with M.

executed by

M. Mouveau,

third act of Mozart's Idomeneo at the

for the

Theatre des Arts.

format of the scenery enlarges the proportions of

performances of the

The

simple, spacious

this tiny stage in a curious

The color scheme is bold and captivating, without useless variegation. The decor is one of the finest that the Theatre des Arts has presented, and it is

way.

the best that

Moreover,

I

have seen on a Parisian stage in a long time.

M. Rouche must be thanked

fragment, whose sublime character in

which tragedy

is

is

for having

mounted

this splendid

scarcely equaled in the art of music, and

achieved by musical expression alone. There are none of

those "tricks" which Gluck brought to the lyric theater, whose

futility

has been

demonstrated so often by his successors. ^^ Despite the youthful voice and the refined

power and

nobility of M.

perfection

was not achieved. Here,

achieve

it

for a long time.

gestures

—which

art

of Mile Lucy Vauthrin, the

Ghasne, and the genuine

As

are so remote

as elsewhere,

talents of their colleagues, it

will

not be possible to

long as those facial expressions and realistic

from

tragic beauty

— hinder the

clear projec-

35^

:

Articles

:

:

tion of the voice,

and as long as the stage

is filled

which destroys the thread of the

activity,

reduced

with unimportant, superfluous

of pretentious entertainment,

to the level

which today has been

plot, lyric art, will

be unable

to regain its

lofty path.

and painters must

Poets, musicians,

all

unite in restoring the grandeur and

the plenitude of theatrical emotion. But in order to achieve this, the assistance

of theater directors furnished only by

is

necessary. In France, until now, this assistance has

been

M. Rouche.

Together with Idomeneo, the Theatre des Arts

is

presenting a ballet sug-

M. de Goloubev by a Persian legend. The Distant Source. The music is Mme by Armande de Polignac.^^ The form of this composition is at times a bit gested to

vague.

On

the other hand, one frequently encounters innovations, chiefly

harmonic discoveries, whose daring does not exclude charm. absurd to blame is

the noblest

endowment

orchestra did not always

of the

hall,

would be

that a sincere artist can possess.

Although conducted by that

size

It

Mme de Polignac for her unrelenting creative concern, which M.

sensitive musician

seem properly balanced. The

Gabriel Grovlez,^"^ the with the small

fault lies

and with the composer, who was caught unawares by these

unusual proportions.

The

principal performer

is

Mile Napierkovska. Her supple grace

known, and the elegance of her arm movements

among ballerinas. M. Doucefs^^ scenery and costumes The scenery and costumes are, so to

much

well

rarely encountered even

reveal a very rare sensitivity for color.

speak, nothing but enlargements of

Persian miniatures, but their interpretation

pensable, as

is

is

is

flawless.

for theatrical decor as for any

This quality

is

indis-

work of art.

NOTES 1.

"L«

Sorciere a

rOpera-Comique," Comcedia

illustre

The opera is by Camille Erlanger (see note 6). 2. The Spanish cardinal, grand inquisitor, and

(January

5,

1913), 5(7):320-

23.

statesman Francisco Jimenez de

Cisneros (1436-15 17) rose from humble beginnings to become the religious and political adviser to the

Spanish throne.

3. In addition to The Witch, Sardou (1831-1908) wrote

stage.

some seventy works

for the

His melodrama Tosca was the basis of Puccini's famous opera.

4.

See

5.

Jean Nougues (1876-1932) composed the opera

6.

Camille Erlanger (1863- 19 19) studied at the Conservatoire with

letter no. 53,

note

won the Prix de Rome in

7.

1888.

He

in question, jgwo Vadis (1909).

Leo Delibes and

composed mostly vocal music, including nine operas,

the most successful of which was Aphrodite (1906), based

on the novel by Pierre Louys,

Articles

which received almost two hundred performances was introduced on December

i8, 191 2, with

at the

some of

:

:

:

j^^

Opera-Comique. The Witch

the major roles performed by

Mesdames Marthe Chenal (Zoraya) and Ninon Vallin (Manuella), and Messieurs Jean Perier (the Cardinal) and Leon Beyle (Don Enrique). Francois Ruhlmann conducted, with decor by Lucien Jusseaume and M. Bailly, and production by Albert Carre. 7. Literally,

"the reasons of the composer of Saint-jfulien-rHospitalier" another

opera by Erlanger, based on Flaubert's short 8.

This celebrated theater

1897.

Its

that the

story.

Montmartre section of

in the

Paris

opened

its

productions featured terrifying episodes of bloodcurdling horror, so

noun " Grand -Guignol" entered

the French language as a

synonym

doors in

much

so

for horrify-

ing. 9.

See

letter no. 82,

10. Respectively

note 4.

by Giacomo Meyerbeer (1792-1864) and Charles Gounod (1818-

1893). Ravel's opinion of Meyerbeer their orchestration,

tion of

Gounod

11.

See

12.

Some

is

he found

found on

letter no. 118,

was

similar to his view of Berlioz: while praising

relatively little else to

p.

note

admire in their music. (An apprecia-

384.) 2.

of Debussy's criticisms of Christoph Willibald Gluck (17 14- 1787) were

most likely shared by Ravel. In "An Open Letter to Monsieur le Chevalier C. W. Gluck" {Gil Bias, February 23, 1903),

Debussy wrote:

And between you and me, your prosody is awful: you turn French into an accented language when it is really a language of nuances. (Yes, I know you're German.) Rameau, who helped to form your genius, had some examples of fine and vigorous declamation that could have been of use to you

what a marvelous musician Rameau was, acknowledge that

it

fine

man who

Mme

I

suffer

will

not bother you with

by comparison.

thing.^

On the whole,

I

must

prefer Mozart to you; he

p.

124.)

Polignac (1876- 1962) studied with Faure and d'Indy.

several ballets based

We

ignored your influence completely, thinking only of music.

(Francois Lesure, Debussy on Music, 13.

—but

you

was you who made the action of the play predominate over the

music. But was that such a good

was a

lest

on

exotic subjects,

and

also wrote songs, operas,

She composed

and instrumental

works. 14.

See

15.

Jacques Doucet (1853-1929), the famous couturier and Maecenas.

letter no. 92,

note

2.

8

:

:

:

Fervaal'

alarmed without

W

hen Fervaal w^s produced it

nerian."

M.

at this accusation.

Theatre de

d'Indy's admirers

At that time,

to

for

la

Monnaie,

being "Wag-

were not excessively

be sure, no work could appear

author being accused of Wagnerism. After disregarding Wagner's

its

genius for a long time, the futility

at the

was generally reproached

in 1897,

of their

efforts,

critics,

disgruntled and powerless, realizing the

used his glorious name in an attempt

to

crush

all

new

productions.

A

superficial examination sufficed in order to discover everything that a

disconcerting

unknown work might

contain of familiar elements. If a single

measure presented a certain formula, everyone, alike,

dilettantes

and music

critics

rose up, animated by chivalrous zeal, in order to denounce the plagiarism

and take the defense of an himself. Bizet, Lalo,

artist

whose genius, however,

and Massenet,

all

sufficed to shield

Gounod, and Chabrier, the

pupils of

most profoundly personal, the most French of our composers

them managed

to avoid these

— not one of

absurd attacks.

The appearance of Claude Debussy renewed these fruidess struggles. Soon, no doubt, some innovator,

as yet unscathed, will serve as a pretext for additional

battles. It is

equally true that at

all

times, important artists have

been influenced by

certain original masters to the point of involuntarily renouncing their personality.

We

have, and will continue to have "Debussyian" works.

own The

passage of time enables us to ascertain that works do exist which are entirely

Wagnerian.

Among

these, Fervaal

This "music drama" theatrical

scheme,

its

is

is

the most important.

Wagnerian by the very essence of its music, by

philosophy, the realization of this philosophy,

symbolic role of the characters and their obscure language.

prosody of the dialogue ner's

French translators

weak in our language, it is

is

recalls, at felt

The

musical

times rather disagreeably, that which

obliged to adopt. In

fact,

marked vigorously, which

its

by the

Wag-

the tonic accent, rather

is all

the

more

distressing as

frequendy misplaced. For no reason, phrases are interrupted by

rests,

rather brief, but which suffice to evoke the short-winded declamation of the

3SS

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heroes in

Tristan, the

Ernst. ^ This fault

Ring

cycle,

and

Parsifal, in the

:

:

j^g

adaptations of Wilder or

purely external, but for the Ustener,

is

:

it is

all

the

more

striking.

The philosophy ofFervaal offers an even more profound analogy. Some have tried to

show that,

on the contrary, of Parsifal

oped

is

far

from arising out of Wagner's philosophy, d'Indy's tended,

to destroy

it.

However, time has shown that the monastic

ideal

not very far removed from the Christian principle of love devel-

in Fervaal

Moreover, as Wagner's philosophical system d'Indy's,

no great harm would occur

nounced.

What

is

regrettable

characters in the French essentially

is

is

no more

if their similarities

original than

M.

were more pro-

that in order to present this philosophy, the

drama use the same means as their counterparts in the

Germanic work of Wagner.

All of the characters reveal themselves

by their words, more often than by their actions.

One notes the same situations,

whose symbolism is asserted with a thoroughly Germanic persistence, the same personalities,

and the same obscure, childish dialogue.

and Kundry, Wotan and Erda constandy come

Parsifal

Far superior to the

music of Fervaal

libretto, the

is

Mime and

to

Siegfried,

mind.

no

less influenced

Wagner. First of all, Wagnerian principles of form are deliberately adopted. doubt, as Ernest Chausson has remarked,

by

No

"Wagner not only discovered the

form which best suited the nature of his genius; he was an innovator, indicating a new direction for the theater.

The dramatic revolution realized by him was too

universal to remain isolated, without importance

and consequences

for the

future."

But was leitmotifs

it

necessary to apply these principles so rigorously.?

Not only are

the

developed and modified precisely according to the Wagnerian

scheme, but their very character, their melodic and rhythmic structure, and the general harmonic language, though less sumptuous, obviously proceed from this system, or rather

One

from

its

inspiration.

should not expect a composer's works to be entirely personal creations,

offering

no analogy whatever with the achievements of his predecessors. These

analogies are even inevitable, and a work devoid of them would be nothing but a

some uneasiness in observing so many of coming from the same source and all reunited in the same

monstrous exception. But one these analogies,

all

feels

work.

Wagner's own work

offers the

most complete example of assimilation on the

grandest scale. Uniting the most diverse materials, this giant constructed a splendid and original palace, whose dimensions were proportioned to his stature.

M.

d'Indy

doors and windows.

moved

The

into this grandiose edifice, carefully shutting

fiery sun,

which the

was replaced by candles of exceptional

clarity,

its

architect allowed into his abode,

but of less heat. In

this artificial

j6o

:

:

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:

become tarnished, taking on a moribund appearance. The symbol life and love while bearing a woman's corpse toward the heights is more significant than M. d'Indy intended it to be. Nevertheless, if this drama does not and cannot possess the inspired bril-

light, objects

of Fervaal proclaiming the victory of

liance of

its

models,

it

must take

its

place

among

productions of the French musical theater. If

the most proudly honorable lacks the audacity of certain

it

contemporary works, or even previous ones such as Chabrier's Gwendoline, or

M.

Bruneau's Le Reve,^

it is

exempt from the inherent clumsiness found

in

all

The writing is meticulous, exhibiting nobly sustained musicality. At a time when even our subsidized theaters are overrun by untalented amateurs and unscrupulous professionals, we must profoundly admire artistic

experimentation.

the example of such integrity.

Under

the direction of M. Messager,'^ the orchestra gave a perfect rendition

of this richly sonorous score, which

complex but always

is

clear; d'Indy's

orchestration owes nothing to that of Wagner, and even surpasses

in light-

it

ness.

The all

shortcomings of Messieurs Delmas and Muratore are those of almost

the lyric artists of our time. Let us then consider only their virtues: the

powerful voice and clear diction of the former, and the latter,

warm

timbre of the

struggled victoriously against the acoustics of the hall.

After an announcement. Mile Breval,

who was

seriously indisposed, proved

her admiration for the composer by not hesitating to confront the

hostile,

unappreciative audience at the dress rehearsal. Despite her obvious discomfort, this

great artist honorably acquitted herself from an ordeal which any

other performer would have found fearsome.

The

choral part, which

work. Although

difficult to

is

treated brilliantiy,

perform,

it

of great importance in this

is

was admirably done. The ardor of the

chorus' acting, however, did not always match the music's

The scenery showed

being achieved, one could discern progress toward a the second act, the "tricks"

successful as possible.

In

my next article,

I

vitality.

obvious effort. Although perfection was surely far from less constrained style. In

which accompanied Arfagard's incantations were

They

as

only gave further proof of our theatrical poverty.

will discuss the

new musical production

des Arts, which proved to be a briUiant success

Theatre

at the

at its dress rehearsal.

NOTES I.

Comcedia

Music Drama First

illustre

in

produced

(January 20, 1913), 5(8):36i-64.

Three Acts and

a Prologue: Libretto

in Brussels in 189J, Fervaal

Opera-Comique. Ravel was reviewing

The

article is subtitled

"A

and Music by Vincent d'Indy."

was heard

in Paris

one year

later at the

a performance given at the Opera, in

which the

i

Articles

leading roles were sung by (Kaito), 2.

:

:

j6i

Breval (Guilhen) and Lise Charny

and Messieurs Lucien Muratore (Fervaal) and Francisque Delmas (Arfagard).

Like Alfred Ernst, the Belgian music

fervent Wagnerian. 3.

Mesdames Lucienne

:

critic

Victor van Wilder (183 5- 1892) was a

He translated all of Wagner's libretti from Lohengrin on into French.

Ravel was probably thinking of the harmonic "audacity" found in Gwendoline

(Brussels, 1886), with

Le Reve

(Paris, 1891),

its

many unresolved seventh and ninth chords, and with regard

he told Calvocoressi that

it

to

contained "significant examples of

chords that were pure resonances, laid out without any regard to part-writing" (Calvocoressi, "Ravel's Letters," p. 18). 4.

See

p.

483, note 13.

9

:

:

At the

:

Theatre desArts^

he second series of musical productions

T have the

final

Arts

is

at the

Theatre des

successful in every respect. At the dress rehearsal, the

success was so great that the audience expressed

work repeated. The performance

desire to

its

consists of three works: a

modem operetta, a Baroque lyric work, and a recent ballet. The scenic realization of these works,

by artistic means

which are so

as varied as the

different in nature

—

that of taste. In

happy

many

is

result

influential,

a

one would be

to observe this single characteristic.

Une Education manqueehy Emmanuel Chabrier is only an operetta, and the great merit of not aiming

music

is

an underlying unity present in the ensem-

which are more

theaters

obtained

is

works themselves, and each time the

perfect adaptation. However, there ble

and chronology,

in this

littie

work than

beyond in

that.

Nevertheless, there

many full-length operas.

is

it

has

more genuine

In the shortest couplet

or romance, one can recognize the unique personality of the composer of Gwendoline,

Le Roi malgre

same musical

material,

lui,

and La Sulamite. In these works, one

more extended, but

just as delightful.

finds the

How much

light

music, even recentiy composed, seems out-of-date in comparison with Une Education manquee, which, however, the libretto has not retained the

is

same

only thirty-four years old. Unfortunately, freshness,^

forms a distressing contrast with the

and the

inferiority

originality, character,

and

of the text

delicate or-

chestration of this charming score.

The vocal part, which at times is perilous, the bravura of Mile Rachel Launay, the

is

in very capable hands, thanks to

charm of Mile Marxelle Coulomb, and

the winning buffoonery of M. Bourgeois. Certain passages would have gained

by being performed with greater

vivacity, as for

Pausanias and Gontran, in which the tutor

example

pitilessly

in the duet

between

enumerates the variety of

attainments he has inculcated in his pupil, while the pupil laments his feelings

of inadequacy.

M.

Farge's decor and costumes are adapted to this very simple plot with

restraint

and commendable

trifles available in

362

a

taste,

without attracting attention by means of

secondhand shop. The stagehand responsible

for

produc-

Articles

:

:

j6j

:

ing the thunder performed his task with such verve, that the composer, no

doubt, v^^ould have preferred greater discretion.

The prologue of Thesee, spectfully

him on

as everyone knows,

campaign

to celebrate the

on the stage

in Flanders.^

in order to talk

is

suitably

The gods

sumptuous, intending

of Olympus descend re-

about the king's bravery, to compliment

the success of his weapons, the

abundance of his

and even the

favors,

choice of his mistresses. LuUy's majestic inspiration becomes supple in the cantilenas of Venus

receptive to the

and Ceres. At moments

like this, I

charm of this musicality than

must confess,

to the orderly

I

am more

and somewhat dry

ingenuity of Rameau."^

One might

think that the stage of the Theatre des Arts

encompass such

a grandiose pageant.

is

a bit small to

However, the elegant architecture of the

decor and the sumptuousness of the costumes are such a joy for the eye to behold, that one overlooks this disproportion.^ In a French garden, illuminated by lampions and a beautiful bronze can-

delabrum, the gods and heros march past in their courtly apparel.

The

felici-

tous mixture of the most splendid fabrics, the bold yet deHcate variety of the

and the

colors,

prologue.

One

nobility of tlie lines accord perfectly with the

A rare

music of

and sumptuous harmoniousness emanates from

recalls the tragic bareness

of the decor that

all

M. Dethomas

this

of this.

created for

Dostoyevsky's haunting drama, The Brothers Karamazav. This remarkable

artist

has just proved, even more than in Dominos,^ or Salomehy Florent Schmitt, that

he can

intelligently adjust the resources

of his

art to the

most disparate

theatrical requirements.

The

interpretation

is

extremely polished: a choir of youthful voices accom-

panies the excellent soloists,

Mesdames Lucy

Vauthrin and Vuillemin, and

Messieurs Ghasne and Moisson. Dolly,

by

advisability

knows

M.

Gabriel Faure, has once again raised the question of the

of transferring a piece of absolute music to the stage. Everyone

this suite for

piano four hands, in which a great

childhood, has lavished

unique musicality. illustrated for the

most ingenious

all

artist, in

homage

to

of the tender charm and harmonic grace of his

M. Laloy had the felicitous idea of having these short pieces stage,^ and M. Henri Rabaud^ orchestrated them with the

tact

and suppleness. Thereupon, certain

critics

and amateurs,

guardians of the temple of Music, once again cried "sacrilege." Would the

goddess inspire that

less respect

on the

altar

than in the

composers are never aroused as much as

tions,

sacristy.^

The

fact

remains

dilettantes about these transcrip-

which every musical work may undergo, on condition

that

good

taste

presides. Certain composers, myself inclyded, have devoted themselves to

profaning their

own music. And

I

believe that the

composer of Dolly was aware

j64

:

:

Articles

:

of the fact that

who

this

new villainy had

been perpetrated. Besides,

are excessively affected by the enormity of this defilement, there

the recourse of purifying the I

just

would venture

work by performing it at home in its one reservation with regard

to express

the opening "Lullaby": the contrast

is

the action

adapted so

is

been composed childish charm,

Dancer with

tured by

great

skill.

Joined by

whose rhythm

it.

But except

Miss Eva Reid,^^

M.

Fieri Sandrini, they

for this detail,

was

as Dolly,

role of the

nimble

lent itself perfectly to this interpretation.

Mirales' national ardor.

of

full

performed one piece

Dance," whose character was

The

effectively cap-

And how can one resist the joyful emotion

which overtakes one the moment the curtain stylized landscape, in

the pirouettes and

the music, that the music seems to have

and M. AveHne performed the figurant

true of the "Spanish

M.

little girl,

a froHcsome nurse.

skillfully to

in order to illustrate

as a brisk waltz, ^^

same was

to Dolly, concerning

two Pierrots, the Foottit brothers,^ who, between two

Mme Varaille,

caprioles, pester

always

is

original form.

too obvious between this gracious, slow,

and subdued melody, and the angry stamping of a slaps in the face of the

for those

rises

on Miss Lloyd's curiously

which one sees beautiful multicolored birds perched on

the most unlikely flowers, and

when a large fluffy rabbit, M. Marcel Heronville,

crosses the stage, pushing a carriage overloaded with red balloons?

M.

Grovlez was also one of the more important acrobats of the evening.

Followed by his orchestra, he jumped from one genre to another and leaped over several epochs with the greatest of ease.

However, will

this

performance, so successfully varied and so warmly received,

be presented only eight times!

M. Rouche,

the director of the Theatre des

Arts, thus presents us with a paradoxical situation: in

and even

all

countries, in

Germany

in Russia, considerable research of the greatest artistic interest

is

being pursued which seeks nothing less than to renew the principles of theatri-

But

cal decor.

in France,

where

directors' efforts focus

upon perfecting

stereoscope in color and refining out-of-date scenery, a gigantic effort

is

the

being

made on a solitary, minuscule stage. In this overly narrow spot, the most diverse dramatic and lyric talents have come together, and their art is appreciated with complete justification. The most brilliant painters of the young French school furnish the sketches for the costumes and the decor. Their realization

entrusted to professional

example.

The

realization

is

artists

of great distinction such as

decor and costumes are always works of

not perfect, they never

in color or style.

fail

M. Mouveau,

art. If at

to attract attention

times their

by their innovations

Sometimes of complex opulence, sometimes of

delicate simplicity, the attempt

is

made

to adapt the

is

for

tragic or

decor and costumes to the

character of the story. Whatever the expenses necessitated by the works, and

whatever their success, the performance point of this noble enterprise

is

is

continually renewed.

The weak

the dilemma of the director also being a patron.

Articles

a unique situation in our day.

It

—would do more

Rouche than

all

opinion,

— and

opportunity

this

M.

PubUc

different pieces.

endeavor because of ignorance, would

be gained by

this

approach.

And

so long dormant with regard to the theater,

the directors of our important theaters to give

vvill

it

finally

perhaps, weary of the

overblown scenes and dreary banalities continually imposed upon taste,

this

A long run of perfor-

frequentiy offered to

is

on mounting so many

indifferent to this

realize the benefit to

scope.

j6^

:

enhance the reputation of the Theatre des Arts

to

the funds lavished

now

its

:

making

greatly contributes towards

undertaking overly exceptional and restricting

mances of the same work

:

finally

French

it,

wake up and

oblige

satisfaction.

NOTES 1.

Comcsdia

2.

The

illustre

librettists

(Fehrusiry 5, 1913), 5(9)1417-20.

were Eugene Leterrier and Albert Vanloo. This one-act operetta

about a young man, Gontran de Boismassif, whose

him in science and

art,

but

fails

to teach

rather than Pausanias, will thus instruct the

1687) and

libretto

January 1675. 4.

The

Jean-Philippe

tragedy" in

five acts

is

is

instructs

Happily, a

terrified bride into his arms.

Nature,

young groom.

with a prologue, byJean-Baptiste Lully (1632-

by Philippe Quinault, was prologue

Master Pausanias,

him what to do on his wedding night.

thunderstorm breaks out, which drives Gontran's

3. Thesee, a "lyric

tutor,

set in the

garden

Rameau (1683- 1764),

first

performed before Louis XIV in

at the palace

like Lully,

of Versailles.

was the leading French composer

of his time. In addition to his influential theoretical writings, his harpsichord pieces and operas are particularly significant. 5.

The decor and costumes were by Maxime Dethomas (1867- 1929).

6.

Based on the music of Francois Couperin (1688- 1733), with

a scenario

by Louis

Laloy. 7.

Laloy recalled that Dolly was a "sort of dancing sketch," which combined "the

burlesque qualities of the circus and the music-hall." {LaMusique 8.

See

9.

The

letter

324, note

retrouvee, p. 198.)

i.

celebrated English clown

Chocolat, a Spanish Negro,

made

George

Foottit (i 864-1 921)

their reputation in Paris.

and

his

companion

They were befriended

(and

immortalized) by Debussy ("Minstrels," "GoUiwogg's Cake Walk") and ToulouseLautrec. 10.

"Miss"

is

used

in

French

for

an American or English young

11. "Kitty-Valse," the fourth of Faure's six short pieces.

was named for and dedicated

who

later

to

lady.

Completed

in 1896, Dolly

Dolly Bardac, the young daughter of Emma Bardac,

became Debussy's second

wife.

10 Regarding Claude Debussy's Images^ .

.

.

Man

letters,

an envious and jealous

is

or he

who

excels in

call the fine arts. It

always seems

our profession tarnishes our own

who

all the

to us that the reputation

modems

is

and chiefly

luster,

are our contemporaries, or close to

one feels toward the

of animal, above

sort

man of

one of the ingenious attainments which we

it

.

.

.

the luster of those

Thus, the jealousy which

often the better part

which one shows for the ancients

.

.

ofpeople in

of the admiration

.

— ANTOINE BAUDERON DE S^NEC^, 1687

otable improvements have recently

N

methods of musical

criticism.

The

representatives has always been, as

the younger generation,

been made

objective of is

known,

whose tendencies appear dangerous

to

in the

its official

to

weaken

them.

The

which various schools have followed one another during the past

rapidity with

half century necessitates a

more expeditious approach.

It

no longer

suffices to

lament the aesthetics of the older masters, or to feign incomprehension, anger, or hilarity vdth respect to the pursuits of the young: old and young are contemporaries. health,

The

point

is

to

convince people that the older masters are in good

whereas the vigor of the younger composers

is

already in decline.

Two distinct schools exist at the present time: the older one consists of Cesar Franck^s disciples, whereas M. Claude Debussy is justly considered the princinew

pal innovator of the

one.

Generally, composers' opinions are rather moderate, at least in their writings.

Thus, the leader of the Franckist group, M. Vincent d'Indy, wisely

recognizes the importance of certain young colleagues, and limits himself to fearing that future generations will follow them, rather than retrogress {Revue musicale de la S.I.M.

,

November 1 9 1 2). The

dirty

work is

left to a

small group of

music scribblers headed by Messieurs Pierre Lalo and Gaston Carraud.

We

owe to these two personalities the latest improvements in musical criticism. As soon as Pelleas etMelisande appeared, they placed themselves at the head of Debussy's partisans, yet from that downfall.

As

exceptional.

366

the

work was

moment

on, they planned the opera's

disturbing, they declared

The word "impasse" was pronounced, and

it

to

be sublime, but

then everyone waited.

PLATE

i

!

i

I

I

A portrait of Marie

Delouart Ravel

by Edouard Ravel (1885). Photograph in the

Music Division of the

Bibliotheque Nationale

A portrait of Pierre Joseph

Ravel

by Marcellin Desboutin (1896).

Photograph in the Music Division of the Bibliotheque Nationale

PLATE

2

Ravel and Roland -Manuel in Lyons-la-Foret (1923). Photograph in the private collection of Claude

Roland-Manuel

Ravel, Maurice and Nelly Delage, and

Suzanne Roland-Manuel

Photograph in the Music Division of the Bibliotheque Nationale

(c.

1923).

Louise Alvar, Ravel,

and Georges Jean-

Aubry

(1924).

A professional

portrait

of Ravel dedicated to

Mme

Louise Alvar

(1924) with a humorous postscript:

London,

April 2024.

Both photographs

in the

Charles Alvar Harding Collection on deposit at the Pierpont Library.

Morgan

Reproduced

with the kind

permission of Charles Alvar Harding

PLATE

Standing,

3

left to right:

Pablo Casals, Jacques Thibaud, and Alfred Cortot;

seated: Gabriel Faure (1923), Photograph in the

Bibliotheque Nationale

Music Division of the

Jacques Rouche

(c.

1910).

Photograph in the Music Division of the Bibliotheque Nationale

At the Fontainebleau Conservatory

(c.

1930). Left to

right:.

X, X, Gerard

Hekking, X, Ravel, Emile Vuillermoz, Charles-Marie Widor, Isidor Philipp,

Georges Hiie, Henri Rabaud, Alfred Bruneau, Jean Chantavoine, and Gabriel Pierne. Photograph in the

Music Division of the Bibliotheque Nationale

PLATE

4

,

-^Mtvitf ^M'fft 1

V

7'^'^x*yt^-^*^ iUl>t>*'t. C^"/

^a.>

^^^^' .'^^..^.^^.^^^^,,^,,,^^^^

Letter from Pierre Joseph Ravel to his mother, dated

Autograph

in the private collection of

December

^,^ ^^^^^,^_^^

12, 1845.

Mme Alexandre Taverne

\



PLATE

5

Ravel and Ida Godebska in the Basque country

(c.

1930). Photograph in the

collection of the author

A garden party at Le Belvedere, June and Cipa Godebski. Seated next Photograph in private collection

1928. Ravel conversing with Jane Bathori

to Ravel, the

Spanish composer Joaquin Nin.

Germaine

Tailleferre,

Francis Poulenc, Arthur

Honegger, Darius Milhaud, Jean Cocteau,

and Georges Auric (c.

1922). Photograph in

the private collection of

Mrs. Monique Leduc

M. and

Mme Lucien

Garban and Ravel (c. 1

921). Photograph in

the private collection of

Mme

G. Dalian

PLATE

6

Robert Casadesus collection of

Mme

(c.

1925). Photograph in the private

Gaby Casadesus

I

Ravel, Helene Jourdan-Morhange, and Ricardo Vines in Saint-Jean-de-Luz (1923). Photograph in die

Music Division of die Bibliotheque Nationale

Ravel and Madeleine Grey

Ernest Ansermet (19 19).

Photograph in private collection

(c.

1930),

Photograph in private collection

PLATE

7

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MOB

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PLATE

8

Ravel's return from the United States: with Marcelle Gerar at

Le Havre,

April

1928. Photograph in the collection of the author

1

,

g

.^

V*M>

1

A

t-

I

U

l^ "^

i"^..^.>/-/

calling card sent to Marcelle

(letter no. 246).

*»v

Gerar and family

/.

in

C-»

'/

/;

October 1924

Collection of the author

Ma Mere VOye at the Theatre

des Arts (191 2): Cupid unites Prince Charming

and the Princess. Decor and costumes by Jacques Dresa. Photograph

Music Division of the BibHotheque Nationale

in the

PLATE

9

Postcard from Ravel to Ida Godebska, dated July 29,

1

9 13

(letter no.

10

Collection of the author

:.,.iGs^ :h-^^>.'^

'">"•

'

fh

Hut*

'»^«V- ,'4/;

PLATE 10 Postcard from Ravel to

Mme Rene de

Saint-Marceaux, dated

January 22, 19 19 (letter no. 151). Autograph in the private collection

of B. de Saint-Marceaux

''CARTH

l-^M^!^

It- ^

j-thtlf 4»uU

Sis,

f^i-'^Wtl^

r

ftl

n.l\.^/t

POSTALE

'

^^^MW

PLATE

II

rm

Le Be.LV|£d^re MONTFORT lAmAURY (S.&O.) \^

^ i ^

^

s

j

I

^

«

|/».

IMflliifliii^

it

l

i «

j

1 w^iiCA*'^

Letter from Ravel to Florent Schmitt, dated October 29, 1921 (letter no.

Autograph

in the

^

f

Music Division of the BibHotheque Nationale

i

PLATE

II

rm

4/ ^

iw/n

^

I

^^s.

/•"•—

-r^'^ijw

•^Mw.«A '*«".''

/v^4

Autograph

in the

? '

-

'/v-

^

•(

v" ^i>^

..i

Mme Bretton Chabrier, dated

Photograph D. Tomitch

(/

i

December

4,

1929

(letter

Music Division of the Bibliotheque Nationale.

PLATE

A model

of

12

Leon

Leyritz's stone bust of Ravel

found in the Paris Opera.

It is

signed by the sculptor with a dedication to the author. Photograph of bust in the collection of the author

PLATE

13

11 U^He^

-

^'1/^4^*

t^

/

0{*i^^i^ix^ wi^