The music of Maurice Ravel (1875-1937), beloved by musicians and audiences since its debut, has been a difficult topic for scholars. The traditional stylistic categories of impressionism, symbolism, and neoclassicism, while relevant, have offered too little purchase on this fascinating but enigmatic work. In Ravel the Decadent, author Michael Puri provides an innovative and productive solution by locating the aesthetic origins of this music in the French Decadence and demonstrating the extension of this influence across the length of his oeuvre. From an array of Decadent topics Puri selects three--memory, sublimation, and desire--and uses them to delineate the content of this music, pinpoint its overlap with contemporary cultural discourse, and link it to its biographical context, as well as to create new methods altogether for the analysis and interpretation of music. Ravel the Decadent opens by defining the main concepts, giving particular attention to memory and decadence. It then stakes out contrasting modes of memory in this music: a nostalgic mode that views the past as forever lost, and a more optimistic one that imagines its resurrection and reanimation. Acknowledging Ravel's lifelong identity as a dandy--a figure that embodies the Decadence and its aspiration toward the sublime--Puri identifies possible moments of musical self-portraiture before stepping back to theorize dandyism in European musical modernism at large. He then addresses the dialectic between desire and its sublimation in the pairing of two genres--the bacchanal and the idyl--and leverages the central trio of concepts to offer provocative readings of Ravel's two waltz sets, the Valses nobles et sentimentales and La valse. Puri concludes by invoking the same terms to identify a topic of "faun music" that promises to create new common ground between Ravel and Debussy. Rife with close readings that will satisfy the musicologist, Ravel the Decadent also suits a more general reader through its broadly humanistic key concepts, immersion in contemporary art and literature, and clarity of language.
Puri argues that 'the opera is founded in a decadent experience of time as an existential prison' (Ravel the Decadent, 14). See also Souillard, 'Commentaire littéraire et musical', 89; Langham Smith, 'Ravel's operatic spectacles', ...
44 Susan Wollenberg's Schubert's Fingerprints: Studies in the Instrumental Works (Aldershot: Ashgate, 2011); her translation of Robert Schumann's comment, 'Nur wenigen Werken ist das Siegel ihres Verfassers so klar aufgedrücktals den ...
“Dandy Interrupted: Sublimation, Repression, and Self- Portraiture in Maurice Ravel's Daphnis et Chloé (1909–1912). ... “Memory, Pastiche, and Aestheticism in Ravel and Proust. ... Ravel the Decadent: Memory, Sublimation, and Desire.
The most detailed examination of Ravel's two finales can be found in Michael J. Puri, Ravel the Decadent: Memory, Sublimation, and Desire (Oxford: Oxford University Press, 2011), 121–139. 48 decadence and pessimism that he perceives on ...
Memory and historical interplay Helen Julia Minors A fascinating example of historical interplay in early twentieth-century French music is manifested in the intellectual and musical aspirations of Henry Prunières (1886–1942) and ...
Ravel's offense in 1905 was to compose a fugue with “harmonic errors.” 45. 46. 47. Nichols, Ravel, 184. Ibid., 184, 354. Michael Puri, Ravel the Decadent: Memory, Sublimation, and Desire (Oxford: Ox- ford University Press, 2011), 6. 48.
Ravel and the Aesthetics of Illusion Jessie Fillerup ... I seek less a method in Proust's work than a literary reflection of Ravel's approach to constructing a childhood world that partakes of ... Puri, Ravel the Decadent, 15–21. 4.
For a full account, see Jessie Fillerup, “Composing Voices and Ravel's L'Heure espagnole,” in On Voice, ed. ... For a more affirmative view of what it should sound like, see Michael Puri, Ravel the Decadent (Oxford: Oxford University ...
Puri, Ravel the Decadent, 196. All score references from Ravel, Daphnis et Chloé. ... 1 (1985); Steven Baur, “Ravel's 'Russian' Period: Octatonicism in His Early Works, 1893-1908”, Journal of the American Musicological Society 52, No.
53 Mawer, The Ballets of Maurice Ravel, 187, 191. 54 Carolyn Abbate, 'Outside Ravel's Tomb', Journal of the American Musicological Society, 52/3 (Fall 1999), 465–530; Dorschel quoted in Michael J. Puri, Ravel the Decadent: Memory, ...