AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: ATTILA FODOR.
DOI: 10.24193/subbmusica.2017.1.05
Published Online: 2017-06-20
Published Print: 2017-06-30
pp. 77-82
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ABSTRACT:
Though Ravel usually avoided to include himself into aesthetic trends, his statements regarding musical works, composers or schools of the past and also of his time demonstrate that he had a quite clear view of the contemporary art. In respect of impressionism, he distanced himself systematically from it, while his arguments reflect a deep knowledge of its main aesthetic and style features. Being a consecrated admirer of impressionist painting, his observations on this trend were not against it, but the expression of his neutral position regarding any trend. As a result, his creative universe, however varied, appears to be rather a closed one. Though Ravel’s oeuvre is original, especially regarding the piano and orchestral compositions set up before the World War I, it vibrates in a subtle manner with the major trends of his time: symbolism, impressionism, expressionism, neoclassicism and even futurism. This paper analyses his connections with impressionism through his words.
Keywords: Ravel, impressionism, aesthetic trend, style.
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