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Je vous ai regardee pendant toute la soiree. Votre beaute m'a trouble. Votre beaute m'a terriblement trouble, et je vous ai trop regardee. Mais je ne le ferai plus. Il ne faut regarder ni les choses ni les personnes. Il ne faut regarder que dans les miroirs. Car les miroirs ne nous montrent que des masques . . . Oh! Oh! du vin! j'ai soif . . . Salome, Salome, soyons amis.
And there is much besides that Ravel and Debussy have in common. They have each been profoundly influenced by Russian music, "Daphnis et Chloé" showing the influence of Borodin, "Pelléas et Mélisande" that of Moussorgsky. Both have made wide discoveries in the field of harmony. Both have felt the power of outlying and exotic modes. Both have been profoundly impressed by the artistic currents of the Paris about them. Both, like so many other French musicians, have been kindled by the bright colors of Spain, Ravel in his orchestral Rhapsody, in his one-act opera "L'Heure espagnol" and in the piano-piece in the collection "Miroirs" entitled "Alborada del Graciozo," Debussy in "Ibéria" and in some of his preludes. Indeed, a parallelism exists throughout their respective works. Debussy writes "Homage
The dates of composition of his principal works are: "Miroirs," 1905; "Sonatine," 1905; "Gaspard de la Nuit," 1908; "Valses nobles et sentimentales," 1911; "Ma Mère l'Oye," 1908; "Histoires naturelles," 1906; "Cinq Mélodies populaires grecques," 1907; "Trois Poèmes de Mallarmé," 1913; "Quatuor
Que te sert d'empiler sur des planches d'armoires, Du velours, du damas, du satin, de la moire, D'avoir des bonnets d'or et d'emplir des tiroirs Des chapes qu'on dirait couvertes de miroirs?
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