Les Apaches

This article is about the group of French artists. For other uses of apache, see Apache (disambiguation).

Les Apaches (or Société des Apaches) was a group of musicians, writers and artists which formed in the early years of the 20th century in Paris, France. The core was formed by Maurice Ravel, Ricardo Viñes and the writer and critic Michel-Dimitri Calvocoressi. Other members of the group included:

• Maurice Delage, composer
• Désiré-Émile Inghelbrecht, conductor
• Tristan Klingsor, poet, painter, art theorist
• Florent Schmitt, composer
• Paul Sordes, painter
• Émile Vuillermoz, music critic
• Déodat de Séverac, composer
• Igor Stravinsky, composer
• Léon-Paul Fargue, poet
• Lucien Garban, publisher and transcriber
• Manuel de Falla, composer
• Georges Mouveau, decorator of the Paris opera
• Édouard Bénédictus, painter, composer and scientist
• Pierre Haour

Origins

In the early 20th century the term Les Apaches was used to describe European street gangs who were of intense interest to the French media at the time. Supposedly, the term was adopted by the diverse circle of artists after a newspaper seller mockingly called "attention! Les Apaches" as members of the group were returning from the premiere of Claude Debussy's opera Pelléas et Mélisande, a work they praised and rallied around. It is possible that this was an ironic insult or a reference to their modernist artistic output. They found the name amusing, especially as they saw art as being at odds with conservative tastes.

The precise beginnings of the group are unclear. Many of the regular members were approximate contemporaries, most had met previously and some had been friends for over a decade; Ravel, Schmitt, Ladmirault, and Vuillermoz had all been taught by Gabriel Fauré and it is likely that some of the other artists had met at the École des beaux-arts or in Salon exhibitions. Throughout 1901, Vuillermoz hosted regular musical events at his home, and members had gathered at events such as the premier of Ravel's Jeux d'eau - by the time the group was calling itself Les Apaches there was already a circle of artists who met regularly.

Active Years

From around 1903, the group met each Saturday. For several years, the meetings usually took place in the city studio of Paul Sordes (dubbed 'Ravel with a palette') a neighbor of Debussy, although they later moved to a property that Delage rented. Ravel suggested that they adopt the first melody of Borodin's 2nd Symphony as their theme, an idea with which they all agreed. To enter Sordes' apartment or attract the attention of other Apaches after concerts, the member would have to whistle the first few bars of the music; Rimsky-Korsakov's Scheherazade was the initial choice, although it was deemed too difficult to whistle.

Ricardo Viñes in 1901

Many in the group were amateurs and enthusiasts of the arts from which they did not make a living, and so the members were not limited to one artistic faction within Les Apaches. The meetings were lively, and would often last until the early hours of the morning; they would discuss art at the time, argue about contemporary issues, perform music for each other (Viñes being the favoured pianist), play duets together, read poetry, drink coffee and smoke. Ideas and fragments of larger unfinished works would often be performed or shown at the meetings; this mingling of ideas would influence several Appaches and lead to various artistic collaborations. They would also discuss their wider interests; Symbolism, Javanese music, Russian composers, Edgar Allan Poe, Mallarme and Cezanne were all topics that fascinated Les Apaches. The music of Debussy was a particular passion. The meetings of the group were vibrant occasions, and when other neighbors complained about the noise so late at night, the group began meeting in a more isolated hut rented by Delage, which they called their 'wigwam'. Outside of the meetings, the members would support each other; Viñes premiered works by the composers, the critics would encourage new music, and the poets would collaborate with the musicians to set words to music.

The wider membership of the group was always shifting. The group (or as they called themselves, 'the band') attracted many members during its existence, some who would meet with the group occasionally, and others whose association with Les Apaches was brief. Despite this somewhat fluid nature of Les Apaches, the group was highly exclusive in other ways; women were strictly forbidden. According to Viñes’ diary, only those who regularly met in Delage's hut were truly part of Les Apaches. Due to the nature of the group, many of the members became close. Ravel, who dedicated each movement of Miroirs to a member of Les Apaches, used the French familiar form tu with only three friends outside his close family - all of them were part of Les Apaches. There is speculation that the one romantic relationship in Ravel's life was with the poet and fellow appache Leon-Paul Fargue.

In 1910, Igor Stravinsky became a member of Les Apaches. According to Stravinsky’s letters, he frequently visited Paris, staying at the home of his closest friend in the city, Maurice Delage, who helped him deliver manuscripts and set up interviews with the press. In a letter to Florent Schmitt, Stravinsky noted that for a time he only listened to the music of Schmitt and Ravel, along with Debussy.

Although some of the members remained friends, the meetings petered out during World War I and eventually stopped altogether.

Debussy and Les Apaches

Claude Debussy in 1908

Contrary to popular belief, Claude Debussy was never part of Les Apaches. However, the music of Debussy was of particular importance within Les Apaches, who all greatly admired his compositions, supporting them when they received unfavourable reviews. Pelléas et Mélisande was a work they openly admired despite the mixed critical reception. Ravel was a particular fan, attending every one of the opera's performances in its first run - a total of fourteen.

Debussy's music also featured in the meetings held by Les Apaches. Ravel had made transcriptions of Debussy's Nocturnes and his Prélude à l'après-midi d'un faune for two pianos and piano duet respectively, compositions praised by fellow Appaches. Although Debussy was not close with any one of the Apaches, he was acquainted with several members. The most notable relationship Debussy had with an Appache was Viñes, with whom Debussy had a professional relationship for several years. Viñes (a pianist Debussy admired) regularly premiered Debussy works and, during his regular meetings with Debussy, Viñes would perform works by Ravel for him. Through Viñes, Les Apaches were indirectly linked with Debussy.

Ravel was often compared with Debussy, and the followers of the composers began to form rough factions; those who supported the younger Ravel, and those who defended Debussy. Similarities in the music of the two composers, as well as the association through Viñes, lead to accusations of plagiarism by Ravel. Les Apaches had always been avid supporters of Debussy, although made a point of defending Ravel when it was claimed that he had imitated Debussy.

Further reading

1. Apaches, at Maurice Ravel Frontispice, archived on 7 November 2017 at Wayback Machine from the original. [Retrieved 17 November 2008].
2. "Maurice Ravel." Contemporary Musicians, Volume 25. Gale Group, 1999. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2005.

See also

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