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If there is a single modern composition which can be compared to "Petruchka" for its picture of mass-movement, its pungent naturalism, it is the "Feria" of the "Rapsodie espagnol."
Saint-Saëns: Phaéton, Second Symphony, Sonatas, Persian Melodies, the Rapsodie d'Auvergne, and a quartette. Vincent d'Indy: The trilogy of Wallenstein, the Poême des Montagues, the Symphonie sur un thème montagnard, and quartettes. Chabrier: Part of Gwendoline. Lalo: Fragments of the Roi d'Ys, Rhapsodies and Symphonies. Bruneau: Penthésilée, La Belle au Bois Dormant.
Ravel always goes directly through the center. But compare his "Rapsodie espagnol" with Debussy's "Ibéria" to perceive how direct he is. Debussy gives the circumambient atmosphere, Ravel the inner form. Between him and Debussy there is the difference between the apollonian and the dionysiac, between the smooth, level, contained, perfect, and the darker, more turbulent, passionate, and instinctive.
"You will conceive, Reverend Sir, that I was scandalised by such a foolish rapsodie, and in plain words admonish'd my husband of his folly. Whereupon he speedily became sober, and asked my pardon; but for all that night continued of a gloomy countenance, ever and anon falling to sighing and groning as before.
In 1898, his "Sites auriculaires" were publicly performed. In 1901 he failed for the first time to gain the Prix de Rome. His quartet was performed in 1904. In 1903 he failed for the fourth time to gain the Prix de Rome. "Histoires naturelles" were performed in 1907, the "Rapsodie espagnole" in 1908. "L'Heure espagnole" was given at the Opéra Comique in 1911.
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