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We should always remember that sensitiveness and emotion constitute the real content of a work of art.
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Music, I feel, must be emotional first and intellectual second.
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I begin by considering an effect.
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You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.
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My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation.
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I did my work slowly, drop by drop. I tore it out of me by pieces.
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'Mais est-ce qu'il ne vient jamais à l'idée de ces gens-là que je peux être 'artificiel' par nature?'
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The only love affair I have ever had was with music.
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Remember that I wrote a pavane for a dead princess, and not a dead pavane for a princess!
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I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.
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For Debussy the musician and the man I have had profound admiration, but by nature I'm different from him. I think I have always personally followed a direction opposed to that of the symbolism of Debussy.
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'I have the intention to dedicate Le Gibet to you. It is not because I think you merit a rope to hang yourself, but because it is the least difficult of the three pieces.'