{"id":5909,"date":"2013-03-29T17:11:27","date_gmt":"2013-03-29T17:11:27","guid":{"rendered":"http:\/\/www.pianostreet.com\/blog\/?p=5909"},"modified":"2013-06-30T12:05:24","modified_gmt":"2013-06-30T12:05:24","slug":"the-case-of-ravel","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/","title":{"rendered":"The Case of Ravel"},"content":{"rendered":"

In this exclusive interview pianist Paul Roberts<\/a> talks about his new book Reflections<\/a> and the search for pathways into the core of musical interpretation.<\/p>\n

\"\"Patrick Jovell: It has been a fascinating journey reading your book and I must say that it\u2019s not only a book about Ravel<\/a> but rather about the sources and states which are required in order to understand the transcendence of music. I understand “the case of Ravel” does propose many angles of such a process but does it also reflect your own way when approaching other composers\u2019 music as well?<\/em><\/p>\n

Paul Roberts: The somewhat over-used word today to describe this process is \u2018holistic\u2019. I believe this process is crucial, in fact for me it is self evident. I have never been able to accept that art, in whatever form, is something \u2018out there\u2019, detached, framed, separated, hence unconnected to our essential selves. We all know that art is an expression, in however complex a way (and often in a very simple way) of our own experience, our view of the world from diverse angles. If this is obviously true of novels, plays and poetry (the written and spoken word being more or less an exact response to the need for \u2018something to say\u2019) then I want it to be true of music too. I think we should be able to talk about music in relation to our experience outside music. I recognise, of course, that the correlation between music and the experience to which it is connected is much more difficult to isolate and bring forward for discussion, music being essentially abstract and lacking the concrete meanings of language. It is sometimes easier to talk about music from the 19th and early 20th centuries (so-called Romanticism and Impressionism) but it should be equally possible to talk in this way about Bach, Mozart, Beethoven and even Stockhausen.<\/p>\n

So yes, my preparation for performing and teaching any music by any composer begins from a profound respect for the sources of inspiration, whether personal, literary, historical, stylistic. We need to engage with why the music exists at all and not simply treat it as a problem to be solved in a technical sense, to be learnt, performed and discarded.<\/p>\n

And one further point is relevant to my own approach: I believe that the performing musician should be very aware of how other art forms operate, how other artists grapple with problems of expression, of form, of communication. If an actor needs to immerse herself in the flavour and manners of a period, in order to \u2018act\u2019 with complete veracity, then a musician should too. How can we perform Ravel\u2019s Valses nobles et sentimentales<\/a> if we don\u2019t understand the risqu\u00e9 nature of a waltz, or Ravel\u2019s stated intention that these waltzes were inspired by early 19th-century Vienna? The ironic tension between Ravelian harmony on the one hand, and the ever-present limitation of the three-four time structure on the other, redolent of Schubert\u2019s waltzes, is the very condition that produces this supremely great work of art. (See my chapter on Valses nobles in my book!)<\/p>\n

It is by engaging with other art forms that one can come across such wisdom as the following, from the theatre director Peter Brook: \u2018An actor must never forget that a play is greater than himself.\u2019 Pianists should take heed.<\/p>\n

PJ: The celebration of the Debussy anniversary makes me think of your book on Debussy (2008)<\/a> and the book Images (2003)<\/a> on Debussy’s piano music<\/a>. Can you pinpoint your personal affinity for Debussy and Ravel?<\/em><\/p>\n

\"\"PR: I discovered Debussy first, in my teens, and it was many years before I tackled Ravel. Being a slow learner and absorber I needed years before I felt able to say something about Debussy. Once I had got there \u2013 and I\u2019m certainly not saying I am finished, the learning process is endless \u2013 I suddenly saw Ravel across the other side of the valley, it was almost a relief and a liberation to turn to something so utterly different from Debussy yet intimately connected both artistically and of course historically.<\/p>\n

The affinity stemmed from a simple romantic attachment to all things French in my teens, and I have to say it was the music of Debussy, when I first heard it (La fille aux cheveux de lin<\/a>, and Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-mid d\u2019un faune, then Pell\u00e9as at university), that drew me to all things French. It spoke so strongly to me, it chimed in with my own secret desires and ideals, and I simply wanted to find out more and more. So I read about him \u2013 a recall a dreadful hagiography entitled Clair de lune which thrilled me at 16 (I still have a copy on my shelf). I listened endlessly, learnt piano pieces, and even at 21 dreamed of writing a book that would engage with all the solo piano music \u2013 at that time I called it Music and Painting. It took nearly 30 years to come to full fruition (my Images), and a good thing too.<\/p>\n

\"\"I was fascinated by Debussy the man, and above all by the way the man was not only shaped by his times, but how he shaped those times himself. This above all developed my interest in the holistic approach to preparation and interpretation. Of course Debussy\u2019s music can be taken as it is \u2013 the greatest art will always withstand myriad approaches and myriad interpretations, and I don\u2019t deny that the greatest art is also self-contained \u2013 but it would be a foolish performer who didn\u2019t at least pay some attention to Debussy\u2019s own experiences of painting, poetry, oriental music, Japanese art and the music of Wagner and the Russians. It is but a short step to become interested in the life \u2013 for example, in Debussy\u2019s highly attractive role as a father, and his relationship with his daughter that led to the composition Children\u2019s Corner<\/a>.<\/p>\n

Following up these threads leads to the very nature of the creative process, which for me can be expressed by a straightforward question: how does the person Claude Debussy become the artist Claude Debussy? Can the two sides of this question actually be separated? If that seems a somewhat obscure, perhaps over-academic, approach for performing artists, then how about a question closer to home: how does the person Paul Roberts (fill in your own name) become the performing artist Paul Roberts (fill in your own name)? I do believe that for our health and well being, and thus for the validity of our art, we should all know from what material \u2013 experiences, inner compulsions \u2013 our creative impulses spring.<\/p>\n

So it was a logical step that I should be drawn into writing a biography of Debussy. I originally considered that Ravel\u2019s life would not interest me \u2013 it never had especially \u2013 but on turning at last to his piano music and realising that I not only wanted to perform it but also write about it, I soon discovered what a profoundly complex and fascinating \u2018case\u2019 the man himself offered. The more I explored the life, the more was I drawn to Ravel\u2019s inner world, and the more I felt I understood the extraordinary qualities of his art. Reflections is not a biography of Ravel: it is a book about the piano music. But inescapably I found that I couldn\u2019t write about the music without reference to the man.<\/p>\n

PJ: A thrill for the reader, you are very concerned with the pianist collaborations with contemporary pianists like H. Faure, Vi\u00f1es and Perlemuter and refer to them as messengers to the future. As a modern pianist, how do you listen to them and what in particular are you looking for? I gather there is a fine line between imitation, inspiration and analysis?<\/em><\/p>\n

\"\"PR: It is fascinating and highly instructive to hear how pianists of the past played. It brings us down to earth, and helps us realise that interpretation is absolutely not an exact science and that what we \u2018do\u2019 today is partly to do with current tastes and fashions. So I marvel at the performances without ever wanting to imitate them. One couldn\u2019t \u2013 it would be like walking around in the clothes from another era, complete with wig and silk stockings (or in Ravel\u2019s case silk cravates, impeccably pressed trousers and spats).<\/p>\n

But we soon learn to distinguish between surface fashions (the frequent arpeggiation of chords for example, apparent in some of Ravel\u2019s own piano roll recordings) and the essence of the music. What never fails to come across in the finest performances \u2013 what for me actually defines a fine performance \u2013 is the nature of phrasing, the ease of movement within the music, the flow and intelligibility of direction. Perlemuter in particular is a master of this. Unfortunately there are very few recordings of Vi\u00f1es, and none in which he plays Ravel (Debussy\u2019s Soir\u00e9e dans Grenade<\/a> he plays with tremendous Spanish flair and quite fast.). You don\u2019t mention Walter Gieseking (and nor do I in the book) but he exemplifies refinement of phrasing in his Debussy and Ravel recordings. I listen for this, or I am at once struck by this \u2013 which is a constant source of aesthetic pleasure \u2013 irrespective of the \u2018interpretation\u2019, which I find is secondary. What I mean is, we would never play like that today, in terms of tempo, or rubato, but we should certainly aspire to that ease and rightness of phrasing.<\/p>\n

And Ravel manifests this too in his piano roll recordings. His performances are often clumsy, full of errors, and often too fast, yet the musical flow, the engagement with musical meaning, is extraordinarily present.<\/p>\n

PJ: As a consequence of the Debussy anniversary there is now a broad musicological and artistic discussion whether Debussy was an Impressionist or not, and some voices state the importance of pure classical idioms being tremendously important for Debussy, for example. Should or could Debussy and Ravel be compared at all? Many a pianist is used to “Impressionist Piano Music” compilations by the recording industry as well as among major musical editions.<\/em><\/p>\n

PR: I think the Impressionist label is a necessary convenience \u2013 after all it does denote a historical period and a certain style of music \u2013 though I abhor the consequent attitude that the music is therefore \u2018merely\u2019 picturesque. It is extraordinary how pervasive the view still is in certain countries that Germanic music has greater depth, greater spiritual and intellectual dimensions. So yes I am all for the new attitudes to Debussy and Ravel that show how grounded their music is in rigorous musical procedures. I am constantly pointing out in my teaching how crucial it is in preparing Debussy to understand the precision of his rhythmic structures, how the apparent freedom of his phrasing and the disembodied textures by which the music appears to escape gravity, are all dependant on a strict observance of pulse and an awareness of complex harmonic relationships.<\/p>\n

And yet . . . how would it be possible to conceive the full genius of La mer without recognizing that the creative impulse behind this vast symphony (which really does observe processes of symphonic form and development, and which Debussy himself, the arch-enemy of academia, called a \u2018symphony\u2019) is the sea itself, and the meaning, both psychological and real, that the sea holds for mankind? The title was not added as an after thought.<\/p>\n

Yes most certainly Debussy and Ravel can be compared within the Impressionist genre \u2013 both wrote within and outside it. In the piano works Ravel is an \u2018Impressionist\u2019 in Jeux d\u2019eau<\/a> and Miroirs<\/a> (and with titles such as those how could he not be? \u2013 titles comparable to the invitations provided by Debussy\u2019s Images and La mer). In Valses nobles on the other hand, and Le tombeau de Couperin<\/a>, he is definitely not, just as Debussy is not in Suite bergamasque<\/a> and the Etudes<\/a>.<\/p>\n

PJ: France, at the turn of the last century was the scene for the most important Symbolist writers and the multi-possibilities of the language became a stylistic sign of this whole movement. When clarifying the musical essence of Ravel’s works your references to literature go hand I hand. What are the differences or similarities between a Ravel\/Fargue collaboration and a Chopin\/Mickiewicz or a Liszt\/Goethe?<\/em><\/p>\n

PR: I think there are very strong similarities. My next research project, which I am undertaking right now at the Guildhall School of Music & Drama in London, is a logical extension of my interest in this field. I am looking at all those many piano works of Liszt that were inspired by literature. The result will be recordings and another book, working title Liszt and Literature. So not only Liszt\/Goethe (you are alluding to the Faust Symphony, and to Liszt\u2019s life-long interest in Faustian themes and images) but, in the piano music, Liszt\/Petrarch, Liszt\/S\u00e9nancourt (Vall\u00e9e d\u2019Oberman) Liszt\/Dante \u2013 and many other collaborations.<\/p>\n

The Chopin\/Mickiewicz collaboration has had some attention, but it is more tenuous and for this reason doesn\u2019t absorb me in the same way. But certainly the very use of the word Ballade implies a whole symbolic relationship, if not a real one, between music and story telling. This, in general terms, certainly does interest me. The presence of what one might call narrative tension, or narrative structure, is palpable in music, whether in a sonata, in a tone poem or in the Faust Symphony. The narrative tension of Liszt\u2019s B minor Sonata<\/a> is one of its most arresting features, apparent at once, and which never lets us out of its grip. But there is not a shred of literary context. One of the greatest examples of \u2018pure\u2019 music, it was nevertheless regarded in the 19th and early 20th centuries as somehow a narrative of Liszt\u2019s life, a biography. This is an unfashionable approach to this mighty work today, but it is by no means to be derided. The presence of the single motif in every detail of the work provides that sense of both security and intelligibility that we get from popular art forms, yet it also sets up, at times, an electrifying dramatic tension that comes from the motif managing to undergo constant transfigurations while remaining the same. This is a perfectly acceptable metaphor for a human life \u2013 though whether Liszt intended it is another matter. But to return to a comment I made earlier, the performer should be always inquiring into the sources of the creative process, and not, then, assume that the simple (or not so simple) marshalling of thematic material is the sole reason for the greatness of the B minor Sonata.<\/p>\n

As regards literature the irony is that Debussy was far more inspired by Symbolist poetry and drama, and in literature in general, than ever he was by Impressionist painting. So in many respects the Impressionist label, to return to your previous question, is a false one. But I take musical Impressionism to mean any association outside the musical sphere, any descriptive music, so for me Liszt is an Impressionist throughout the three books of Ann\u00e9es de p\u00e8lerinage<\/a>, as is Schumann in Kreisleriana<\/a> (inspired by the writing of E T A Hoffmann). And Ravel in particular belongs to this 19th-century tradition: the three poems which inspired Gaspard de la nuit<\/a> he appends to the score, so as to be read by the performer and directly related to the music under the fingers \u2013 which was exactly Liszt\u2019s practice in the Petrarch Sonnets<\/a>. In Miroirs Ravel was more secretive \u2013 and one of the most exciting discoveries I made when researching my chapter on Miroirs was how the music was intimately related to Ravel\u2019s close friendship with the poet L\u00e9on-Paul Fargue, who would have been reading his new poems to the group known as the Apaches at exactly the same time as Ravel would have been introducing his new piano pieces. Fargue was an inspiration to Ravel, his literary mentor and a vital catalyst for his musical imagination. Fargue himself was fascinated by music, Ravel\u2019s and Debussy\u2019s in particular, and his poetry is replete with musical allusions.<\/p>\n

PJ: Les Apaches or Soci\u00e9t\u00e9 des Apaches — in which the poet Fargue was a member — was a group of some sixteen French musicians, writers and artists which formed around 1900 who had rallied around Debussy’s opera Pell\u00e9as et M\u00e9lisande. In French Les Apaches also meant “hooligans”. There were other artistic groupings in Paris at that time. In which various ways did Les Apaches form a base for Ravel?<\/em><\/p>\n

They were \u2018Hooligans\u2019 because the young men (no women) were rowdy at concerts in support of their favoured composers – and for the fact that they liked to see themselves as apart, as an avant-garde \u00e9lite. I would go so far as to say the Apaches group was the most important event\/experience of Ravel\u2019s formative years, without which his art would not have developed as quickly or as soon as it did. It was not only Fargue\u2019s presence \u2013 though he was the most important of the non-musicians of the group for Ravel \u2013 but the whole set and setting, the ready ears, the ready and provoking discussions on art and life, the friendship and loyalty which enabled Ravel\u2019s art to burgeon in a supportive atmosphere (though the group were sometimes mystified by it: Oiseaux tristes<\/a> was at first regarded as inexplicable). And then there was the brilliant Spanish pianist Ricardo Vi\u00f1es, a friend from Ravel\u2019s childhood, who became one of the most significant pianists of the age for the promotion of new music. If Ravel wasn\u2019t playing to the group it would be Vi\u00f1es (as well as the painter Paul Sordes, who by all accounts was an able amateur pianist; as a painter Sordes was dubbed \u2018the Ravel of the palette\u2019.) We owe Gaspard de la nuit to Vi\u00f1es , who not only introduced the original prose poems to Ravel (by Aloysius Bertrand) but who sat, literally, by his side during its composition. Vi\u00f1es was a formidable virtuoso, and though Ravel had some skill he could not have performed the work as Vi\u00f1es would have done.<\/p>\n

It is highly significant for our understanding of Ravel\u2019s art that the group was made up of a cross section of artists: poets, writers and critics, painters, composers, pianists. The phenomenon of cross-arts discussion, collaboration, mutual inspiration \u2013 which was a guiding principal of French Symbolism in the 1890s, and a strong current in Romanticism throughout the 19th century \u2013 had its continuation in the Apaches.<\/p>\n

\n

Hear Paul Roberts in interview on Debussy at NPR’s On Point<\/a>:<\/p>\n","protected":false},"excerpt":{"rendered":"

In this exclusive interview pianist Paul Roberts talks about his new book Reflections and the search for pathways into the core of musical interpretation. Patrick Jovell: It has been a fascinating journey reading your book and I must say that it\u2019s not only a book about Ravel but rather about the sources and states which are required in order to […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"class_list":["post-5909","post","type-post","status-publish","format-standard","hentry","category-articles"],"yoast_head":"\nThe Case of Ravel - Piano Street Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Case of Ravel - Piano Street Magazine\" \/>\n<meta property=\"og:description\" content=\"In this exclusive interview pianist Paul Roberts talks about his new book Reflections and the search for pathways into the core of musical interpretation. Patrick Jovell: It has been a fascinating journey reading your book and I must say that it\u2019s not only a book about Ravel but rather about the sources and states which are required in order to […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/\" \/>\n<meta property=\"og:site_name\" content=\"Piano Street Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/pianostreet\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/patrickjovell\/\" \/>\n<meta property=\"article:published_time\" content=\"2013-03-29T17:11:27+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2013-06-30T12:05:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.pianostreet.com\/images\/blog\/reflections-the-piano-music-of-maurice-ravel.jpg\" \/>\n<meta name=\"author\" content=\"patrick\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@piano_street\" \/>\n<meta name=\"twitter:site\" content=\"@piano_street\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"patrick\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"NewsArticle\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/\"},\"author\":{\"name\":\"patrick\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#\\\/schema\\\/person\\\/af9ade7174e470f6c8243bd9d225d2d8\"},\"headline\":\"The Case of Ravel\",\"datePublished\":\"2013-03-29T17:11:27+00:00\",\"dateModified\":\"2013-06-30T12:05:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/\"},\"wordCount\":3132,\"commentCount\":3,\"publisher\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#organization\"},\"articleSection\":[\"Articles\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/\",\"url\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/\",\"name\":\"The Case of Ravel - Piano Street Magazine\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#website\"},\"datePublished\":\"2013-03-29T17:11:27+00:00\",\"dateModified\":\"2013-06-30T12:05:24+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/articles\\\/the-case-of-ravel-5909\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Case of Ravel\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#website\",\"url\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/\",\"name\":\"Piano Street Magazine\",\"description\":\"- your guide to the classical piano world\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#organization\",\"name\":\"Piano Street\",\"url\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/wp-content\\\/uploads\\\/2022\\\/03\\\/piano-street-logo.jpg\",\"contentUrl\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/wp-content\\\/uploads\\\/2022\\\/03\\\/piano-street-logo.jpg\",\"width\":317,\"height\":140,\"caption\":\"Piano Street\"},\"image\":{\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/pianostreet\\\/\",\"https:\\\/\\\/x.com\\\/piano_street\",\"https:\\\/\\\/www.instagram.com\\\/pianostreet_com\\\/\",\"https:\\\/\\\/www.pinterest.com\\\/pianostreet\\\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/#\\\/schema\\\/person\\\/af9ade7174e470f6c8243bd9d225d2d8\",\"name\":\"patrick\",\"description\":\"Pianist, docent, tutor and international lecturer. Former President of European Piano Teachers Association (EPTA) - Sweden. Swedish Royal Academy of Music\\\/Mai von Rosen Piano Pedagogue Prize 2023.\",\"sameAs\":[\"https:\\\/\\\/pjovell.wixsite.com\\\/patrix\",\"https:\\\/\\\/www.facebook.com\\\/patrickjovell\\\/\",\"https:\\\/\\\/se.linkedin.com\\\/in\\\/patrick-jovell-38a40312\"],\"url\":\"https:\\\/\\\/www.pianostreet.com\\\/blog\\\/author\\\/patrick\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Case of Ravel - Piano Street Magazine","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/","og_locale":"en_US","og_type":"article","og_title":"The Case of Ravel - Piano Street Magazine","og_description":"In this exclusive interview pianist Paul Roberts talks about his new book Reflections and the search for pathways into the core of musical interpretation. Patrick Jovell: It has been a fascinating journey reading your book and I must say that it\u2019s not only a book about Ravel but rather about the sources and states which are required in order to […]","og_url":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/","og_site_name":"Piano Street Magazine","article_publisher":"https:\/\/www.facebook.com\/pianostreet\/","article_author":"https:\/\/www.facebook.com\/patrickjovell\/","article_published_time":"2013-03-29T17:11:27+00:00","article_modified_time":"2013-06-30T12:05:24+00:00","og_image":[{"url":"https:\/\/www.pianostreet.com\/images\/blog\/reflections-the-piano-music-of-maurice-ravel.jpg","type":"","width":"","height":""}],"author":"patrick","twitter_card":"summary_large_image","twitter_creator":"@piano_street","twitter_site":"@piano_street","twitter_misc":{"Written by":"patrick","Est. reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"NewsArticle","@id":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/#article","isPartOf":{"@id":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/"},"author":{"name":"patrick","@id":"https:\/\/www.pianostreet.com\/blog\/#\/schema\/person\/af9ade7174e470f6c8243bd9d225d2d8"},"headline":"The Case of Ravel","datePublished":"2013-03-29T17:11:27+00:00","dateModified":"2013-06-30T12:05:24+00:00","mainEntityOfPage":{"@id":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/"},"wordCount":3132,"commentCount":3,"publisher":{"@id":"https:\/\/www.pianostreet.com\/blog\/#organization"},"articleSection":["Articles"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/","url":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/","name":"The Case of Ravel - Piano Street Magazine","isPartOf":{"@id":"https:\/\/www.pianostreet.com\/blog\/#website"},"datePublished":"2013-03-29T17:11:27+00:00","dateModified":"2013-06-30T12:05:24+00:00","breadcrumb":{"@id":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.pianostreet.com\/blog\/articles\/the-case-of-ravel-5909\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.pianostreet.com\/blog\/"},{"@type":"ListItem","position":2,"name":"The Case of Ravel"}]},{"@type":"WebSite","@id":"https:\/\/www.pianostreet.com\/blog\/#website","url":"https:\/\/www.pianostreet.com\/blog\/","name":"Piano Street Magazine","description":"- your guide to the classical piano world","publisher":{"@id":"https:\/\/www.pianostreet.com\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.pianostreet.com\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.pianostreet.com\/blog\/#organization","name":"Piano Street","url":"https:\/\/www.pianostreet.com\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.pianostreet.com\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.pianostreet.com\/blog\/wp-content\/uploads\/2022\/03\/piano-street-logo.jpg","contentUrl":"https:\/\/www.pianostreet.com\/blog\/wp-content\/uploads\/2022\/03\/piano-street-logo.jpg","width":317,"height":140,"caption":"Piano Street"},"image":{"@id":"https:\/\/www.pianostreet.com\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/pianostreet\/","https:\/\/x.com\/piano_street","https:\/\/www.instagram.com\/pianostreet_com\/","https:\/\/www.pinterest.com\/pianostreet\/"]},{"@type":"Person","@id":"https:\/\/www.pianostreet.com\/blog\/#\/schema\/person\/af9ade7174e470f6c8243bd9d225d2d8","name":"patrick","description":"Pianist, docent, tutor and international lecturer. Former President of European Piano Teachers Association (EPTA) - Sweden. Swedish Royal Academy of Music\/Mai von Rosen Piano Pedagogue Prize 2023.","sameAs":["https:\/\/pjovell.wixsite.com\/patrix","https:\/\/www.facebook.com\/patrickjovell\/","https:\/\/se.linkedin.com\/in\/patrick-jovell-38a40312"],"url":"https:\/\/www.pianostreet.com\/blog\/author\/patrick\/"}]}},"_links":{"self":[{"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/posts\/5909","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/comments?post=5909"}],"version-history":[{"count":16,"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/posts\/5909\/revisions"}],"predecessor-version":[{"id":6069,"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/posts\/5909\/revisions\/6069"}],"wp:attachment":[{"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/media?parent=5909"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/categories?post=5909"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.pianostreet.com\/blog\/wp-json\/wp\/v2\/tags?post=5909"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}