Quotes About Ravel

I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.

To this day, I still travel with scores. Every time I'm on a plane - it could be Stravinsky or Mozart or Ravel.

For Debussy the musician and the man I have had profound admiration, but by nature I'm different from him. I think I have always personally followed a direction opposed to that of the symbolism of Debussy.

About the other one, which for the moment bears the code name Dedale 39, we know only what Ravel is willing to say about it one day to Manuael De Falla: it was supposed to be an airplane in the key of C.

Grand Mage," Ghastly said, as he put the map away, "did you know the sparrow flies south for the winter?" "What an odd thing to say," Ravel said, and as he turned, he snapped his palm against the air and Paloma slammed into the wall." ….."What do you know," Ravel said, breathing a little faster, "Skulduggery's silly little code actually works.

And Ghastly became aware of Ravel's eyes, brimming with tears, those eyes that had many a lady swooning over him down through the centuries. Those golden eyes.

And, you know, I think the original recording of Ravel's Bolero, probably whoever played percussion on that, will never have It played better than that.

The thing I realised about composition is, we remember most composers for four bars of music. Four singable bars of music. Pretty much any major composer from Debussy to Ravel to Mozart to whoever else - you can kind of hum it.

The story comes around, pushing at our brains, and soon we are trying to ravel back to the beginning, trying to put families into order and make sense of things. But we start with one person, and soon another and another follows, and still another, until we are lost in the connections.

For ten years, I went to piano lessons. I don't think I'm a very musical person, and the theory quite defeated me, but I had a freak aptitude for Debussy and Ravel.

My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation.

Remember that I wrote a pavane for a dead princess, and not a dead pavane for a princess!

I like classical music. I especially like the French composers: Ravel in particular. Debussy. That's so soothing in a nervous world.

You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.

The fabric of space/time is much like one of the elaborate Vatican tapestries, thinks Nemes, and she who begins pulling on loose threads does so at the peril of watching the whole tapestry ravel.

I was the disastrous première of Stravinsky's Rite of Spring. And Ravel's Bolero too.

addition to Debussy, Ravel had begun to attract the interest of patrons such as the Princesse Edmond de Polignac, to whom he dedicated the Pavane pour une Infante défunte, and Misia Natanson, who became a lifelong devotee.