Maurice Ravel
Around 1900, Ravel joined with a number of innovative young artists, poets, critics, and musicians who were referred to as the Apaches (hooligans), a name coined by Viñes to represent his band of "artistic outcasts". The group met regularly until the beginning of World War I and the members often inspired each other with intellectual argument and performances of their works before the group. For a time, the influential group included Igor Stravinsky and Manuel de Falla. One of the first works Ravel performed for the Apaches was Jeux d'eau, his first piano masterpiece and clearly a pathfinding impressionistic work. Viñes performed the public premiere of this piece and Ravel's other early masterpiece Pavane pour une infante défunte in 1902. During his years at the Conservatoire, Ravel tried numerous times to win the prestigious Prix de Rome, but to no avail; he was probably considered too radical by the conservatives, including Director Théodore Dubois. Ravel's String Quartet in F, probably modeled on Debussy’s Quartet (1893), is now a standard work of chamber music, though at the time it was criticized and found lacking academically. In 1905, Ravel's final year of eligibility for the Prix de Rome, Ravel did not even pass the preliminary test, despite being favored to win one of the two first prizes available. Instead, all six selected finalists were students of Charles Lenepveu, a member of the jury and heir apparent of Dubois as director of the Conservatoire. The scandal – named the "Ravel Affair" by the Parisian press – engaged the entire artistic community, pitting conservatives against the avant-garde, and eventually caused the resignation of Dubois and his replacement by Fauré instead of Lenepveu, a vindication of sorts for Ravel. Alfred Edwards, editor of Le Matin, who had taken particular interest in the incident, took Ravel on a seven-week canal trip on his yacht Aimée through the Low Countries in June and July 1905, the first time Ravel traveled abroad. Though deprived of the opportunity to study in Rome, the decade after the scandal proved to be Ravel's most productive, and included his "Spanish period". Ravel and Debussy[edit] Ravel met Debussy in the 1890s. Debussy was older than Ravel by twelve years and his pioneering Prélude à l'après-midi d'un faune was influential among the younger musicians including Ravel, who were impressed by the new language of impressionism. In 1900, Ravel was invited to Debussy’s home and they played each other’s works. Viñes became the preferred piano performer for both composers and a go-between. The two composers attended many of the same musical events and were performed at the same concerts. Ravel and the Apaches were strong supporters of Debussy’s controversial public debut of his unconventional opera Pelléas et Mélisande, which garnered Debussy both fame and scorn. The two musicians also appreciated much the same musical heritage and operated in the same artistic milieu, but they differed in terms of personality and their approach to music. Debussy was considered more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship. Even though they worked independently of one another, because they employed differing means to similar ends, and because superficial similarities and even some more substantive ones are evident, the public and the critics associated them more than the facts warranted. Ravel wrote that Debussy's "genius was obviously one of great individuality, creating its own laws, constantly in evolution, expressing itself freely, yet always faithful to French tradition. For Debussy, the musician and the man, I have had profound admiration, but by nature I am different from Debussy." Ravel further stated, "I think I have always personally followed a direction opposed to that of the symbolism of Debussy." They admired each other's music and Ravel even played Debussy's work in public on occasion. However, Ravel did criticize Debussy sometimes, particularly regarding his orchestration, and he once said, "If I had the time, I would reorchestrate La mer." By 1905, factions formed for each composer and the two groups began feuding in public. Disputes arose as to questions of chronology about their respective works and who influenced whom. The public tension caused personal estrangement. As Ravel said, "It is probably better after all for us to be on frigid terms for illogical reasons." Ravel stoically absorbed superficial comparisons with Debussy promulgated by biased critics, including Pierre Lalo, an anti-Ravel critic who stated, "Where M. Debussy is all sensitivity, M. Ravel is all insensitivity, borrowing without hesitation not only technique but the sensitivity of other people." During 1913, in a remarkable coincidence, both Ravel and Debussy independently produced and published musical settings for poems by Stéphane Mallarmé, again provoking comparisons of their work and their perceived influence on each other, whic