Debussy and Ravel are often described as the prototypical musical impressionists. It is often said that the two composers are the closest equivalents to the artistic world of Monet, Renoir, Pisarro, Degas, and others. But both Ravel and Debussy (like Monet for that matter), vehemently rejected the term Impressionism, and they both felt that they were striking out on their own individual paths in their msuic. That didn’t stop the public and critics from constantly comparing the music of these two shining lights of French music, despite the fact that Ravel and Debussy are actually quite different. Comparing Ravel and Debussy is a bit like comparing Haydn and Mozart. At first glance, there are many similarities, but if you look and listen more closely, Ravel and Debussy(like Mozart and Haydn) had totally different approaches, goals, and styles.
All of the constant comparisons and attempts at making the composers compete with each other had a real impact on Debussy and Ravel. Initially they were friends and mutual admirers of each others work, but they slowly drifted apart over time until they stopped speaking to each other altogether. We’ll talk about this complicated personal relationship, as well as looking at these differences in their music, not from a critical standpoint, but from the perspective of bringing out what is so wonderfully unique about their music. We’ll also talk about Ravel’s arrangements of two Debussy’s greatest orchestral works: his two piano arrangement of Debussy’s Nocturnes, and his piano 4 hands arrangement of the legendary Prelude to the Afternoon of a Faun. Join us on another collaboration with G Henle Publishers!
Recordings:
Nocturnes
Claudio Abbado with London Symphony Anne Shasby, Richard McMahon, Piano
Prelude to the Afternoon of a Faun
Ravel arrangement: Jean-Pierre Armengaud and Olivier Chauzu Debussy Arrangement: Charles Badami and Anthony Olson