I begin by considering an effect.
The only love affair I have ever had was with music.
Music, I feel, must be emotional first and intellectual second.
I did my work slowly, drop by drop. I tore it out of me by pieces.
Remember that I wrote a pavane for a dead princess, and not a dead pavane for a princess!
We should always remember that sensitiveness and emotion constitute the real content of a work of art.
You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.
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.
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.
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.