The two works have a point, if only one point, in common – each is a free orchestral work developed through colour variety. Ravel cultivates none of the earlier composer’s substantial sonorities and swelling dramatic proclamations. He treats the piano as a crisp percussive instrument, and as an integral part of a staccato and luminously clear orchestra.
D’Indy once remarked that the end of his Symphony expresses “the light-heartedness” of the mountains which he always loved.
2. D’Indy Symphony On a French Mountain Air