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Updated: July 15, 2025
He seated himself, and mopped his brow, and fanned himself with his broad straw hat, whose flapping brim was beginning to ravel about the edges. Presently he stood up. "Got to be movin' along, Mis' Penny. Seems like I'm mighty busy off and on. But I dunno what I'd do without Mr. Spackles, here, to advise with once in a while. He's jest been givin' me the benefit of his thinkin' this mornin'."
I stepped down one stair conscious of increasing movement below, the meat cleaver still gripped in my hands. "Any of you armed with cutlasses?" "Oui, M'Sieur, Ravel DeLasser." "Stand here, to right of me, now another at my left. Who are you?" "Jim Carter, sir." "Good; now strike hard, lads, and you others be ready." "What's up, sir?" asked a gruff voice. "Has they busted out from between decks?"
After Debussy comes Dukas, Ravel, Florent Schmitt, Rogier-Ducasse, men who seem to have caught anew the spirit of the eighteenth-century music and given it to us not through the poetic haze of Debussy, but in gleaming, brilliant phrases. There is promise in Schmitt.
If he asked himself these questions, it was with the impersonality of lethargy, for they were dismissed as readily as they presented themselves. With such sedative queries, which were gradually diminishing from fabric to ravel, Raikes finally reached his room and, securely bolting the door, began to prepare to retire. This was not an elaborate proceeding.
And though this freedom is mainly the result of indifference, it has, however, permitted the more independent temperaments to develop in peace from Berlioz to M. Ravel. One should be grateful for this.
He took her in his arms, but did not kiss her, though she lifted her face. He put his mouth against her throat, below the ear, as she offered it, and stood looking out through the ravel of her hair, dazed, dreamy. The sea was smoking with darkness under half-luminous heavens. The stars, one after another, were catching alight.
And then his ironic humor, as well, distinguishes him from Debussy. The humor of the latter was, after all, light and whimsical. That of Ravel, on the other hand, is extremely bitter. No doubt, the "icy" Ravel, the artist "
A choral society of New York a year or two ago produced two small a capella choruses of his that might have been the work of some obscure pupil of Tchaikowsky's. The piano sonatina of the Funeral March, although by no means as insignificant, is nevertheless uncharacteristic in the resemblances it bears the music of Ravel. One thing the earlier compositions are not, and that is, derivative.
If colors are to be used, great care is needed in arranging warp and woof. If you ravel a piece of checked gingham, you will see that half the warp is white and half colored; and that in putting in the woof or filling, a certain number of the threads are white and an equal number are colored.
He assured the artistic success not only of the men like Magnard and d'Indy and Dukas, whose art shows obvious signs of his influence. Composers like Debussy and Ravel, who appear to have arrived at maturity independently of him, have nevertheless benefited immeasurably by his work.
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