Title: Vocal music and the lures of exoticism and irony
Abstract:Given that Ravel's compositional output is relatively small for a major composer, his corpus of thirty-nine songs would appear to be significant by sheer size alone. However, once we discount the eigh...Given that Ravel's compositional output is relatively small for a major composer, his corpus of thirty-nine songs would appear to be significant by sheer size alone. However, once we discount the eight songs composed prior to the orchestral cycle Shéhérazade (1903) – all essentially student efforts, and the twelve folk melodies for which Ravel provided accompaniments as something other than fully composed, serious ‘art song’, we are left with quite a scant amount of work. How then does the genre of song figure within Ravel's oeuvre? Is its stature analogous, say, to that of solo song in Mozart, or perhaps Stravinsky – some tasty morsels obscured by works of far greater scope and quality? Or is the situation closer to Debussy, whose songs clearly are more significant and represent a critical component of his stylistic evolution?Read More
Publication Year: 2000
Publication Date: 2000-08-24
Language: en
Type: book-chapter
Indexed In: ['crossref']
Access and Citation
Cited By Count: 23
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