Maurice Ravel - Knowledge (XXG)

1272:, who had lost his right arm during the First World War. Ravel was stimulated by the technical challenges of the project: "In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands." Ravel, not proficient enough to perform the work with only his left hand, demonstrated it with both hands. Wittgenstein was initially disappointed by the piece, but after long study he became fascinated by it and ranked it as a great work. In January 1932 he premiered it in Vienna to instant acclaim, and performed it in Paris with Ravel conducting the following year. The critic Henry Prunières wrote, "From the opening measures, we are plunged into a world in which Ravel has but rarely introduced us." 1073:, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet." Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of 1712: 1392:'s catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera and song cycles. He wrote no symphonies or church works. 910:. Fokine had a reputation for his modern approach to dance, with individual numbers replaced by continuous music. This appealed to Ravel, and after discussing the action in great detail with Fokine, Ravel began composing the music. There were frequent disagreements between the collaborators, and the premiere was under-rehearsed because of the late completion of the work. It had an unenthusiastic reception and was quickly withdrawn, although it was revived successfully a year later in Monte Carlo and London. The effort to complete the ballet took its toll on Ravel's health; 183:, a trait inherited by her elder son. He was baptised in the Ciboure parish church six days after he was born. The family moved to Paris three months later, and there a younger son, Édouard, was born. (He was close to his father, whom he eventually followed into the engineering profession.) Maurice was particularly devoted to their mother; her Basque-Spanish heritage was a strong influence on his life and music. Among his earliest memories were folk songs she sang to him. The household was not rich, but the family was comfortable, and the two boys had happy childhoods. 1244:... a piece lasting seventeen minutes and consisting wholly of orchestral tissue without music". Ravel continued that the work was "one long, very gradual crescendo. There are no contrasts, and there is practically no invention except the plan and the manner of the execution. The themes are altogether impersonal." He was astonished, and not wholly pleased, that it became a mass success. When one elderly member of the audience at the Opéra shouted "Rubbish!" at the premiere, he remarked, "That old lady got the message!" The work was popularised by the conductor 1056: 2031:. Ravel was among the first composers who recognised the potential of recording to bring their music to a wider public, and throughout the 1920s there was a steady stream of recordings of his works, some of which featured the composer as pianist or conductor. A 1932 recording of the G major Piano Concerto was advertised as "Conducted by the composer", although he had in fact supervised the sessions while a more proficient conductor took the baton. Recordings for which Ravel actually was the conductor included a 1514: 311: 964: 385: 696: 551:

influenced whom. Prominent in the anti-Ravel camp was Lalo, who wrote, "Where M. Debussy is all sensitivity, M. Ravel is all insensitivity, borrowing without hesitation not only technique but the sensitivity of other people." The public tension led to personal estrangement. Ravel said, "It's probably better for us, after all, to be on frigid terms for illogical reasons." Nichols suggests an additional reason for the rift. In 1904 Debussy left his wife and went to live with the singer

29: 510: 1856: 1971:. Ravel also worked at unusual speed on the Piano Trio (1914) to complete it before joining the French Army. It contains Basque, Baroque and far Eastern influences, and shows Ravel's growing technical skill, dealing with the difficulties of balancing the percussive piano with the sustained sound of the violin and cello, "blending the two disparate elements in a musical language that is unmistakably his own," in the words of the commentator Keith Anderson. 990:

Stravinsky expressed admiration for his friend's courage: "at his age and with his name he could have had an easier place, or done nothing". Some of Ravel's duties put him in mortal danger, driving munitions at night under heavy German bombardment. At the same time his peace of mind was undermined by his mother's failing health. His own health also deteriorated; he suffered from insomnia and digestive problems, underwent a bowel operation following

574: 827: 124: 1986:. The Violin and Cello Sonata is a departure from the rich textures and harmonies of the pre-war Piano Trio: the composer said that it marked a turning point in his career, with thinness of texture pushed to the extreme and harmonic charm renounced in favour of pure melody. His last chamber work, the Violin Sonata (sometimes called the Second after the posthumous publication of his student sonata), is a frequently 7867: 525:

was more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship. 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

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benign view of Les Six, promoting their music, and defending it against journalistic attacks. He regarded their reaction against his works as natural, and preferable to their copying his style. Through the Société Musicale Indépendente, he was able to encourage them and composers from other countries. The Société presented concerts of recent works by American composers including

7917: 1779:, Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of 7941: 7969: 1598:(premiered in 1911), described as a "comédie musicale". It is among the works set in or illustrating Spain that Ravel wrote throughout his career. Nichols comments that the essential Spanish colouring gave Ravel a reason for virtuoso use of the modern orchestra, which the composer considered "perfectly designed for underlining and exaggerating comic effects". 1023:

after the death of Debussy in 1918, he was generally seen, in France and abroad, as the leading French composer of the era. Fauré wrote to him, "I am happier than you can imagine about the solid position which you occupy and which you have acquired so brilliantly and so rapidly. It is a source of joy and pride for your old professor." Ravel was offered the

1505:, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude. 757: 7905: 299:, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student. Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist 7929: 998:

French composers to ignore systematically the productions of their foreign colleagues, and thus form themselves into a sort of national coterie: our musical art, which is so rich at the present time, would soon degenerate, becoming isolated in banal formulas." The league responded by banning Ravel's music from its concerts.

1183:. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 7893: 476:("The Hooligans"), a name coined by Viñes to represent their status as "artistic outcasts". They met regularly until the beginning of the First World War, and members stimulated one another with intellectual argument and performances of their works. The membership of the group was fluid, and at various times included 1359:

dilatation that surgery might prevent from progressing. Ravel's brother Edouard accepted this advice; as Henson comments, the patient was in no state to express a considered view. After the operation there seemed to be an improvement in his condition, but it was short-lived, and he soon lapsed into a

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is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from

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After the war, those close to Ravel recognised that he had lost much of his physical and mental stamina. As the musicologist Stephen Zank puts it, "Ravel's emotional equilibrium, so hard won in the previous decade, had been seriously compromised." His output, never large, became smaller. Nonetheless,

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choir, setting his own texts in the tradition of French 16th-century chansons. He dedicated the three songs to people who might help him to enlist. After several unsuccessful attempts to enlist, Ravel finally joined the Thirteenth Artillery Regiment as a lorry driver in March 1915, when he was forty.

772:. Ravel, together with several other former pupils of Fauré, set up a new, modernist organisation, the Société Musicale Indépendente, with Fauré as its president. The new society's inaugural concert took place on 20 April 1910; the seven items on the programme included premieres of Fauré's song cycle 710:

was one, and records that Ravel was a very demanding teacher when he thought his pupil had talent. Like his own teacher, Fauré, he was concerned that his pupils should find their own individual voices and not be excessively influenced by established masters. He warned Rosenthal that it was impossible

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A slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas and eight song cycles; he wrote no symphonies or church music. Many of his works exist

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Joseph's family is described in some sources as French and in others as Swiss; Versoix is in present-day (2015) Switzerland, but as the historian Philippe Morant observes, the nationality of families from the area changed several times over the generations as borders were moved; Joseph held a French

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work. Ravel said that the violin and piano are "essentially incompatible" instruments, and that his Sonata reveals their incompatibility. Sackville-West and Shawe-Taylor consider the post-war sonatas "rather laboured and unsatisfactory", and neither work has matched the popularity of Ravel's pre-war

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Most of Ravel's piano music is extremely difficult to play, and presents pianists with a balance of technical and artistic challenges. Writing of the piano music the critic Andrew Clark commented in 2013, "A successful Ravel interpretation is a finely balanced thing. It involves subtle musicianship,

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The two composers ceased to be on friendly terms in the middle of the first decade of the 1900s, for musical and possibly personal reasons. Their admirers began to form factions, with adherents of one composer denigrating the other. Disputes arose about the chronology of the composers' works and who

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Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs

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He never made clear his reason for refusing it. Several theories have been put forward. Rosenthal believed that it was because so many had died in a war in which Ravel had not actually fought. Another suggestion is that Ravel felt betrayed because despite his wishes his ailing mother had been told

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predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. Kelly remarks on its "dazzling array of instrumental colour", and a contemporary reviewer commented on how, in dealing with another composer's music, Ravel had produced an orchestral sound wholly

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composer – a label he intensely disliked. Many music lovers began to apply the same term to Ravel, and the works of the two composers were frequently taken as part of a single genre. Ravel thought that Debussy was indeed an Impressionist but that he himself was not. Orenstein comments that Debussy

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and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early

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From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in

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In his later years, Edouard Ravel declared his intention to leave the bulk of the composer's estate to the city of Paris for the endowment of a Nobel Prize in music, but evidently changed his mind. After his death in 1960, the estate passed through several hands. Despite the substantial royalties

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of much of the work upset many Parisian opera-goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work". The score presents an impression of simplicity, disguising intricate links

214:. Without being anything of a child prodigy, he was a highly musical boy. Charles-René found that Ravel's conception of music was natural to him "and not, as in the case of so many others, the result of effort". Ravel's earliest known compositions date from this period: variations on a chorale by 1279:

was completed a year later. After the premiere in January 1932 there was high praise for the soloist, Marguerite Long, and for Ravel's score, though not for his conducting. Long, the dedicatee, played the concerto in more than twenty European cities, with the composer conducting; they planned to

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in New York, the entire audience stood up and applauded as the composer took his seat. Ravel was touched by this spontaneous gesture and observed, "You know, this doesn't happen to me in Paris." Orenstein, commenting that this tour marked the zenith of Ravel's international reputation, lists its

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dating from 1899, unpublished in the composer's lifetime, Ravel wrote seven chamber works. The earliest is the String Quartet (1902–03), dedicated to Fauré, and showing the influence of Debussy's quartet of ten years earlier. Like the Debussy, it differs from the more monumental quartets of the

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as an establishment figure. Satie had turned against him, and commented, "Ravel refuses the Légion d'honneur, but all his music accepts it." Despite this attack, Ravel continued to admire Satie's early music, and always acknowledged the older man's influence on his own development. Ravel took a

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During the war the Ligue Nationale pour la Defense de la Musique Française was formed by Saint-Saëns, Dubois, d'Indy and others, campaigning for a ban on the performance of contemporary German music. Ravel declined to join, telling the committee of the league in 1916, "It would be dangerous for

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By the latter part of the 1900s Ravel had established a pattern of writing works for piano and subsequently arranging them for full orchestra. He was in general a slow and painstaking worker, and reworking his earlier piano compositions enabled him to increase the number of pieces published and

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A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style",

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Ravel senior delighted in taking his sons to factories to see the latest mechanical devices, but he also had a keen interest in music and culture in general. In later life, Ravel recalled, "Throughout my childhood I was sensitive to music. My father, much better educated in this art than most

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Ravel wrote to a friend, "I have to tell you that the last week has been insane: preparing a ballet libretto for the next Russian season. working up to 3 a.m. almost every night. To confuse matters, Fokine does not know a word of French, and I can only curse in Russian. Irrespective of the

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found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage". Some find the

1837:(1901), is frequently cited as evidence that he evolved his style independently of Debussy, whose major works for piano all came later. When writing for solo piano, Ravel rarely aimed at the intimate chamber effect characteristic of Debussy, but sought a Lisztian virtuosity. The authors of 735:

have all recorded that Ravel frequented brothels; Long attributed this to his self-consciousness about his diminutive stature, and consequent lack of confidence with women. By other accounts, none of them first-hand, Ravel was in love with Misia Edwards, or wanted to marry the violinist

2464:. Edouard Ravel said that his brother refused the award because it had been announced without the recipient's prior acceptance. Many biographers believe that Ravel's experience during the Prix de Rome scandal convinced him that state institutions were inimical to progressive artists. 1683:

Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle,

2619:, "This bloody opening! I feel I've tried every possible fingering and nothing works. In desperation, I divide the notes of the first bar between my two hands rather than playing them with just one, and suddenly I see a way forward. But now I need a third hand for the melody." 109:

Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public. From the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works; others were made under his supervision.

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in 1988 the neurologist R. A. Henson concludes that it may have exacerbated an existing cerebral condition. As early as 1927 close friends had been concerned at Ravel's growing absent-mindedness, and within a year of the accident he started to experience symptoms suggesting

1874: 381:, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 715:

asked him for lessons in the 1920s, Ravel, after serious consideration, refused, on the grounds that they "would probably cause him to write bad Ravel and lose his great gift of melody and spontaneity". The best-known composer who studied with Ravel was probably

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overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted

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Ravel was fascinated by the dynamism of American life, its huge cities, skyscrapers, and its advanced technology, and was impressed by its jazz, Negro spirituals, and the excellence of American orchestras. American cuisine was apparently another matter.

823:– would be badly received by the ultra-respectable mothers and daughters who were an important part of the Opéra-Comique's audience. The piece was only modestly successful at its first production, and it was not until the 1920s that it became popular. 54:; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of 1865: 1696:

During his lifetime it was above all as a master of orchestration that Ravel was famous. He minutely studied the ability of each orchestral instrument to determine its potential, putting its individual colour and timbre to maximum use. The critic

1219:. Ravel was unmoved by his new international celebrity. He commented that the critics' recent enthusiasm was of no more importance than their earlier judgment, when they called him "the most perfect example of insensitivity and lack of emotion". 5130: 2062:

After Ravel's death, his brother and legatee, Edouard, turned the composer's house at Montfort-l'Amaury into a museum, leaving it substantially as Ravel had known it. As at 2023 the maison-musée de Maurice Ravel remains open for guided tours.

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Ravel's first concert outside France was in 1909. As the guest of the Vaughan Williamses, he visited London, where he played for the Société des Concerts Français, gaining favourable reviews and enhancing his growing international reputation.

4638: 1616:(1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than 338:

understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days:

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The musicologist David Lamaze has suggested that Ravel felt a long-lasting romantic attraction to Misia, and posits that her name is incorporated in Ravel's music in the recurring pattern of the notes E, B, A – "Mi, Si, La" in French

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but had grown up in Madrid. In 19th-century terms, Joseph had married beneath his status – Marie was illegitimate and barely literate – but the marriage was a happy one. Some of Joseph's inventions were successful, including an early

1912:. Too much temperament, and the music loses its classical shape; too little, and it sounds pale." This balance caused a breach between the composer and Viñes, who said that if he observed the nuances and speeds Ravel stipulated in 1348:. Though no longer able to write music or perform, Ravel remained physically and socially active until his last months. Henson notes that Ravel preserved most or all his auditory imagery and could still hear music in his head. 5089: 5035: 1935:

all incorporate elements of the named composers interpreted in a characteristically Ravellian manner. Clark comments that those piano works which Ravel later orchestrated are overshadowed by the revised versions: "Listen to

619:. He was eliminated in the first round, which even critics unsympathetic to his music, including Lalo, denounced as unjustifiable. The press's indignation grew when it emerged that the senior professor at the Conservatoire, 487:

Among the enthusiasms of the Apaches was the music of Debussy. Ravel, twelve years his junior, had known Debussy slightly since the 1890s, and their friendship, though never close, continued for more than ten years. In 1902

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Ravel's mother died in January 1917, and he fell into a "horrible despair", compounding the distress he felt at the suffering endured by the people of his country during the war. He composed few works in the war years. The

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cigarettes. He appeared with most of the leading orchestras in Canada and the US and visited twenty-five cities. Audiences were enthusiastic and the critics were complimentary. At an all-Ravel programme conducted by

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names Diaghilev as the challenger, and Gerald Larner names Ravel. No duel took place, and no such incident is mentioned in the biographies by Orenstein or Nichols, though both record that the breach was total and

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performed. There appears to have been no mercenary motive for this; Ravel was known for his indifference to financial matters. The pieces that began as piano compositions and were then given orchestral dress were

421:, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903. 1415:, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata. 2481:. Poulenc told a friend that he was delighted not to see Satie any more: "I admire him as ever, but breathe a sigh of relief at finally not having to listen to his eternal ramblings on the subject of Ravel 1873: 4635: 1982:

for violin and piano (1924) and finally the Violin Sonata (1923–27). The two middle works are respectively an affectionate tribute to Ravel's teacher, and a virtuoso display piece for the violinist

640:, for which Lalo wrote. Edwards was married to Ravel's friend Misia; the couple took Ravel on a seven-week Rhine cruise on their yacht in June and July 1905, the first time he had travelled abroad. 1791:

comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works,

1647:(1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles 731:

Vaughan Williams's recollections throw some light on Ravel's private life, about which the latter's reserved and secretive personality has led to much speculation. Vaughan Williams, Rosenthal and

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amateurs are, knew how to develop my taste and to stimulate my enthusiasm at an early age." There is no record that Ravel received any formal general schooling in his early years; his biographer

615:, the judges suspected Ravel of making fun of them by submitting cantatas so academic as to seem like parodies. In 1905 Ravel, by now thirty, competed for the last time, inadvertently causing a 399:. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity 4858: 8155: 1797:(1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm". 627:

became a national scandal, leading to the early retirement of Dubois and his replacement by Fauré, appointed by the government to carry out a radical reorganisation of the Conservatoire.

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The public premiere was the scene of a near-riot, with factions of the audience for and against the work, but the music rapidly entered the repertory in the theatre and the concert hall.

229:, who became not only a lifelong friend, but also one of the foremost interpreters of his works, and an important link between Ravel and Spanish music. The two shared an appreciation of 979:. He considered his small stature and light weight ideal for an aviator, but was rejected because of his age and a minor heart complaint. While waiting to be enlisted, Ravel composed 506:

was prominent among those who detested the piece. The Apaches were loud in their support. The first run of the opera consisted of fourteen performances: Ravel attended all of them.

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Although Ravel wrote fewer than thirty works for the piano, they exemplify his range; Orenstein remarks that the composer keeps his personal touch "from the striking simplicity of

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Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed

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After two months of planning, Ravel made a four-month tour of North America in 1928, playing and conducting. His fee was a guaranteed minimum of $ 10,000 and a constant supply of

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and Debussy. In 1900 Ravel was eliminated in the first round; in 1901 he won the second prize for the competition. In 1902 and 1903 he won nothing: according to the musicologist

441:. Over the succeeding decades Lalo became Ravel's most implacable critic. In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: 8065: 1768:

In the orchestral versions, the instrumentation generally clarifies the harmonic language of the score and brings sharpness to classical dance rhythms. Occasionally, as in the

5713: 547:(both 1903). Commentators have noted some Debussian touches in some parts of these works. Nichols calls the quartet "at once homage to and exorcism of Debussy's influence". 2539:

wrote, "Mr. Ravel has pursued his way as an artist quietly and very well. He has disdained superficial or meretricious effects. He has been his own most unsparing critic."

740:. Rosenthal records and discounts contemporary speculation that Ravel, a lifelong bachelor, may have been homosexual. Such speculation recurred in a 2000 life of Ravel by 870:... the effect of mirage, by which something quite real seems to float on nothing". New York audiences heard the work in the same year. Ravel's second ballet of 1912 was 8135: 1332:

and Manuel Rosenthal helped in transcription. Ravel composed no more after this. The exact nature of his illness is unknown. Experts have ruled out the possibility of a

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established French school of Franck and his followers, with more succinct melodies, fluently interchanged, in flexible tempos and varieties of instrumental colour. The

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prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in

2651:." Ravel himself admonished Marguerite Long, "You should not interpret my music: you should realise it." ("Il ne faut pas interpreter ma music, il faut le réaliser.") 2079:

reported in 2001 that no money from royalties had been forthcoming for the maintenance of the Ravel museum at Montfort-l'Amaury, which was in a poor state of repair.

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When he was a boy his mother had occasionally had to bribe him to do his piano exercises, and throughout his life colleagues commented on his aversion to practice.

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Amaducci, L; E Grassi; F Boller (January 2002). "Maurice Ravel and right-hemisphere musical creativity: influence of disease on his last musical works?".

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Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently

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and, in the Debussy work, Ravel. Kelly considers it a sign of Ravel's new influence that the society featured Satie's music in a concert in January 1911.

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took over as Ravel's piano teacher in 1889; in the same year Ravel gave his earliest public performance. Aged fourteen, he took part in a concert at the

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Around 1900 Ravel and a number of innovative young artists, poets, critics and musicians joined together in an informal group; they came to be known as

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According to some sources, when Diaghilev encountered him in 1925, Ravel refused to shake his hand, and one of the two men challenged the other to a

8145: 8085: 7624: 5685: 4526: 1265: 720:, who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner 2413:

Fauré also retained the presidency of the rival Société Nationale, retaining the affection and respect of members of both bodies, including d'Indy.

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His final years were cruel, for he was gradually losing his memory and some of his coordinating powers, and he was, of course, quite aware of it.

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wrote, "In reality he is, with Stravinsky, the one man in the world who best knows the weight of a trombone-note, the harmonics of a 'cello or a

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Orenstein (1991), pp. 64 (Satie), 123 (Mozart and Schubert), 124 (Chopin and Liszt), 136 (Russians), 155 (Debussy) and 218 (Couperin and Rameau)

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Students who failed in three consecutive years to win a competitive medal were automatically expelled ("faute de récompense") from their course.

8090: 8070: 7755: 7607: 5666: 411:, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture 7957: 5551: 1172:

Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of

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In October 1932 Ravel suffered a blow to the head in a taxi accident. The injury was not thought serious at the time, but in a study for the

47:, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. 888:

opened at the same theatre in June. This was his largest-scale orchestral work, and took him immense trouble and several years to complete.

459:

the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter". He dressed like a

8175: 7398: 7300: 852:

called the score "absolutely ravishing, a masterwork in miniature". The music rapidly entered the concert repertoire; it was played at the

768:, founded in 1871 to promote the music of rising French composers, had been dominated since the mid-1880s by a conservative faction led by 7729: 6035:

Fulcher, Jane F. (2001). "Speaking the Truth to Power: The Dialogic Element in Debussy's Wartime Compositions". In Jane F. Fulcher (ed.).

1916:, "Le gibet" would "bore the audience to death". Some pianists continue to attract criticism for over-interpreting Ravel's piano writing. 502:. It divided musical opinion. Dubois unavailingly forbade Conservatoire students to attend, and the conductor's friend and former teacher 2043:

Ravel declined not only the Légion d'honneur, but all state honours from France, refusing to let his name go forward for election to the

563:, contributed to a modest regular income for the deserted Lilly Debussy, a fact that Nichols suggests may have rankled with her husband. 403:... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, 8130: 7662: 7022: 1975: 1788: 5354:"Wrestling with Ravel : How do you get your fingers – and brain – round one of the most difficult pieces in the piano repertoire?" 2303:

Ravel later came to the view that "Impressionism" was not a suitable term for any music, and was essentially relevant only to painting.

8170: 7743: 7579: 1967: 947:. Stravinsky later said that Ravel was the only person who immediately understood the music. Ravel predicted that the premiere of the 443: 330:, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musicologist 2574:

published an article suggesting that the early effects of frontotemporal dementia in 1928 might account for the repetitive nature of

765: 494: 8095: 2151: 1628:

Although one-act operas are generally staged less often than full-length ones, Ravel's are produced regularly in France and abroad.

1603:

characters artificial and the piece lacking in humanity. The critic David Murray writes that the score "glows with the famous Ravel

395:

In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with

5706: 2321:

Ravel admitted in 1926 that he had submitted at least one piece deliberately parodying the required conventional form: the cantata

1664: 591:

During the first years of the new century Ravel made five attempts to win France's most prestigious prize for young composers, the

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The year in which the work was commissioned is generally thought to be 1909, although Ravel recalled it as being as early as 1907.

8160: 8120: 7652: 7487: 1962: 1612: 1151: 711:

to learn from studying Debussy's music: "Only Debussy could have written it and made it sound like only Debussy can sound." When

1901:

a feeling for pianistic colour and the sort of lightly worn virtuosity that masks the advanced technical challenges he makes in

1027:

in 1920, and although he declined the decoration, he was viewed by the new generation of composers typified by Satie's protégés

8180: 8140: 6836: 6681: 6663: 5994:

Donnellon, Deirdre (2003). "French Music since Berlioz: Issues and Debates". In Richard Langham Smith; Caroline Potter (eds.).

188: 6499: 5852: 2855: 5638: 1591:. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it. 672: 7801: 7787: 7411:

International Academy of Music from Saint-Jean-de-Luz: Académie internationale de Musique Maurice Ravel de Saint-Jean-de-Luz

1643: 1345: 929: 4000: 2643:... Ravel's writing is so minutely calculated and carefully defined that he leaves interpreters little room for manoeuvre; 2561:

It was a matter for affectionate debate among Ravel's friends and colleagues whether he was worse at conducting or playing.

2007:, a better pianist. Transfers of the rolls have been released on compact disc. In 1913 there was a gramophone recording of 407:, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow student, 8125: 6515: 5976: 2580: 1355:, a well-known Paris neurosurgeon. Vincent advised surgical treatment. He thought a tumour unlikely, and expected to find 737: 246: 7883: 2473:

Satie was known for turning against friends. In 1917, using obscene language, he inveighed against Ravel to the teenaged

8185: 8105: 7353: 5595: 4571: 2239:, who came to be an admirer of Ravel. Ravel came to share his poor view of the overture, calling it "a clumsy botch-up". 323: 315: 4822: 3605: 879: 7672: 7667: 7629: 7435: 7394: 2834: 2291: 1957: 1276: 1166: 706:

Ravel was not by inclination a teacher, but he gave lessons to a few young musicians he felt could benefit from them.

631: 418: 408: 6278: 5373: 7495: 2052: 2048: 1729:

For all Ravel's orchestral mastery, only four of his works were conceived as concert works for symphony orchestra:

1711: 1625:

between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".

464:

years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.

161: 5558:, Discography search, AHRC Research Centre for the History and Analysis of Recorded Music, retrieved 15 March 2015 2639:... deserves to be on that list too, but his phrasing is so indulgent that in the end it cannot be taken seriously 7586: 1372: 1145: 250: 86: 7600: 5750: 2003:

between 1914 and 1928, although some rolls supposedly played by him may have been made under his supervision by

1655:, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment. 413: 8115: 2798: 2694: 2612: 2397: 1849:

have a beauty and originality with a deeper inspiration "in the harmonic and melodic genius of Ravel himself".

1575:

occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a

291:

With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the

6929:

Perret, Carine (2003). "L'adoption du jazz par Darius Milhaud et Maurice Ravel: L'esprit plus que la lettre".

6549:

Marnat, Marcel (1986). "Catalogue chronologique de tous les travaux musicaux ébauchés ou terminés par Ravel".

5409: 7236:

Woldu, Gail Hilson (1996). "Au-delà du scandale de 1905: Propos sur le Prix de Rome au début du XXe siècle".

7172: 6435: 6129: 2866: 2806: 2350: 1524: 1337: 1312: 1301: 1281: 1111:

the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were

433:... who will perhaps become something if not someone in about ten years, if he works hard". Another critic, 254: 242: 132: 39:(7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with 7369: 5353: 3364: 1978:(1920–22), the "Berceuse sur le nom de Gabriel Fauré" for violin and piano (1922), the chamber original of 1014:, the 18th-century French composer; each movement is dedicated to a friend of Ravel's who died in the war. 8045: 7909: 7870: 7835: 7830: 7808: 7773: 7715: 7677: 7544: 7428: 7238: 6931: 6631: 6363: 6176: 5086: 5032: 2396:

Ravel, known for his gourmet tastes, developed an unexpected enthusiasm for English cooking, particularly

2236: 1800:

Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite

1599: 1341: 1133: 981: 717: 699: 688: 540: 521: 503: 292: 40: 20: 7324: 5682: 4878: 774: 7530: 7018: 6786: 6392: 6181: 5451: 5285: 4946: 4866: 4855: 3360: 1784: 452: 80:, Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of 63: 7708: 6105: 2750: 1881: 1772:, critics have found the later orchestral version less persuasive than the sharp-edged piano original. 1658:

Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as

535: 5774: 2035:

in 1930, and a sound film of a 1933 performance of the D major concerto with Wittgenstein as soloist.

1420:

Whatever sauce you put around the melody is a matter of taste. What is important is the melodic line.

1143:. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite 8055: 8050: 7794: 7503: 7314: 7107:

Strasser, Michael (Spring 2001). "The Société Nationale and its Adversaries: The Musical Politics of

5568: 4431: 2660:

Other composers who made recordings of their music during the early years of the gramophone included

2384: 2372: 2056: 1983: 1698: 1529: 1519: 1173: 1060: 1011: 811: 7339: 5733: 2082:

Many works have been dedicated to Ravel or composed in his memory, by Satie, Stravinsky and others.

1055: 7825: 7479: 7061: 6655: 6479: 5548: 4870: 4851: 2279: 1717: 1673: 1236: 1128: 884: 835: 585: 384: 144: 102: 94:

in two versions: first, a piano score and later an orchestration. Some of his piano music, such as

51: 7558: 7511: 6762:

Nichols, Roger; Deborah Mawer (2000). "Early reception of Ravel's music". In Deborah Mawer (ed.).

6422: 1965:(1905) was composed very quickly by Ravel's standards. It is an ethereal piece in the vein of the 1399:

to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart,

941:. In 1913, together with Debussy, Ravel was among the musicians present at the dress rehearsal of 842:

In 1912 Ravel had three ballets premiered. The first, to the orchestrated and expanded version of

815:

was premiered in 1911. The work had been completed in 1907, but the manager of the Opéra-Comique,

783: 666: 8009: 7701: 7657: 7593: 7349: 7262: 7243: 7138: 7113: 6943: 6936: 6917: 6845: 6803: 6618: 6593: 6537: 6409: 6375: 6368: 6198: 6146: 6092: 4005: 2710: 2644: 2532: 2044: 1490: 1356: 1207: 1003: 943: 373: 96: 6475: 6075: 3181: 581: 560: 404: 1737:

and the two concertos. All the other orchestral works were written either for the stage, as in

1104:

was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score

744:; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery. 437:, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate 7279: 7222: 7199: 7180: 7158: 7130: 7093: 7071: 7047: 7030: 7006: 6984: 6960: 6886: 6864: 6820: 6767: 6748: 6727: 6708: 6689: 6667: 6641: 6610: 6573: 6554: 6520: 6489: 6461: 6343: 6324: 6305: 6288: 6264: 6241: 6220: 6164: 6111: 6059: 6040: 6021: 5999: 5980: 5957: 5938: 5918: 5898: 2770: 1945: 1805: 1566: 1554: 1280:

record it together, but at the sessions Ravel confined himself to supervising proceedings and

1269: 1006:

was almost complete when the conflict began, and the most substantial of his wartime works is

991: 917:

Ravel composed little during 1913. He collaborated with Stravinsky on a performing version of

848: 769: 695: 636: 489: 268: 199: 55: 1131:'s abandonment of conventional tonality also had echoes in some of Ravel's music such as the 7897: 7780: 7749: 7254: 7150: 7122: 7085: 6909: 6795: 6602: 6529: 6444: 6401: 6190: 6154: 6138: 6084: 5890: 3108: 2778: 2718: 2499: 2380: 2358:) "If you study with me you'll only write second-rate Ravel instead of first-rate Gershwin." 2283: 2104: 2004: 1677: 1474: 1245: 1092:

In the post-war era there was a reaction against the large-scale music of composers such as

1024: 976: 963: 895: 707: 620: 577: 530: 499: 396: 388: 358: 335: 331: 327: 226: 7373: 6998: 6781: 6282: 5717: 5689: 5645: 5555: 5416: 5380: 5093: 5039: 4862: 4787: 4642: 4438: 4017: 3688: 3371: 3121: 2889: 2742: 2726: 2702: 2673: 2648: 2588:

and the Piano Concerto for the Left Hand both suggest the impacts of neurological disease.

2474: 2275: 2267: 2168: 1571: 1513: 1249: 1194: 1139: 1097: 795: 732: 712: 481: 477: 300: 176: 76:(1928), in which repetition takes the place of development. Renowned for his abilities in 7142: 1688:, to be sung by a woman, although a tenor voice is a permitted alternative in the score. 1264:

At the beginning of the 1930s Ravel was working on two piano concertos. He completed the

853: 816: 6622: 4780: 533:." During the first years of the new century Ravel's new works included the piano piece 310: 7975: 7722: 7565: 7215: 7065: 6974: 6878: 6159: 6124: 6013: 3681: 2912: 2762: 2633: 2368: 2271: 2183: 2073:

reported in 2000 that it was unclear who the beneficiaries were. The British newspaper

1809: 1584: 1486: 1435: 1352: 1227: 1180: 1120: 1041: 1037: 899: 803: 513: 363: 272: 258: 211: 44: 2182:

passport, but Ravel preferred to say simply that his paternal ancestors came from the

8039: 7921: 6978: 6858: 6635: 6387: 6073:

Goddard, Scott (October 1925). "Maurice Ravel: Some Notes on His Orchestral Method".

5951: 5894: 2826: 2814: 2790: 2478: 2012: 1722: 1466: 1389: 1329: 1317: 1212: 1177: 1123:

incorporated elements of it in their work. Ravel commented that he preferred jazz to

1093: 1033: 923: 907: 903: 830: 820: 741: 612: 556: 354: 280: 276: 165: 156: 100:(1908), is exceptionally difficult to play, and his complex orchestral works such as 77: 59: 7319: 7945: 7933: 6483: 2884: 2669: 2075: 1439: 1431: 1412: 1216: 911: 799: 592: 207: 180: 7992: 7213:

Whitesell, Lloyd (2002). "Ravel's Way". In Sophie Fuller; Lloyd Whitesell (eds.).

5571:, The Oxford Dictionary of Music, Oxford University Press, retrieved 6 April 2015 2870: 1537:

Ravel completed two operas, and worked on three others. The unrealised three were

1077:

was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of

756: 509: 50:

Born to a music-loving family, Ravel attended France's premier music college, the

28: 7390: 6742: 6235: 1872: 7852: 7383: 2536: 2461: 2355: 2287: 1680:

and Verlaine. For three songs dating from 1914 to 1915, he wrote his own texts.

1588: 1478: 1371:

On 30 December 1937 Ravel was interred next to his parents in a granite tomb at

1211:

non-musical highlights as a visit to Poe's house in New York, and excursions to

1124: 1049: 968: 826: 552: 473: 451:

for a dead princess"). It was originally a solo piano work, commissioned by the

434: 222:

and a single movement of a piano sonata. They survive only in fragmentary form.

123: 6287:. Margaret Crosland (trans). New York and London: Grove Press and John Calder. 1497:

themes. He wrote several short pieces paying tribute to composers he admired –

7846: 7840: 7126: 6142: 5971:

De Voto, Mark (2000). "Harmony in the chamber music". In Deborah Mawer (ed.).

2786: 2734: 2686: 2602:

credits Saint-Saëns with 169 works, Fauré with 121 works and Debussy with 182.

2376: 2336: 2000: 1892: 1813: 1621: 1408: 1375:, in north-west Paris. He was an atheist and there was no religious ceremony. 1363: 1231: 1230:'s ballet company, and having been unable to secure the rights to orchestrate 1045: 986: 918: 573: 529:... I think I have always personally followed a direction opposed to that of 378: 345: 238: 195: 147:, was an educated and successful engineer, inventor and manufacturer, born in 81: 7134: 7034: 7010: 6614: 6606: 6448: 6292: 5942: 5922: 846:, opened at the Théâtre des Arts in January. The reviews were excellent: the 127:

Joseph Ravel (1875), Marie Delouart (1870) and Maurice Ravel aged four (1879)

6799: 6257: 6210: 6194: 5134: 4874: 4826: 3935: 1987: 1919:

Ravel's regard for his predecessors is heard in several of his piano works;

1202: 1116: 1106: 862: 438: 7537: 6405: 6115: 5902: 1793: 1351:

In 1937 Ravel began to suffer pain from his condition, and was examined by

819:, repeatedly deferred its presentation. He was concerned that its plot – a 257:. This music had a lasting effect on both Ravel and his older contemporary 72: 6168: 7551: 6088: 2549: 2069: 1462: 1400: 1321: 1137:(1926), which Ravel doubted he could have written without the example of 1069: 608: 215: 140: 6849: 6722:

Nichols, Roger (2000). "Ravel and the critics". In Deborah Mawer (ed.).

6379: 6319:

Kelly, Barbara L. (2000). "History and Homage". In Deborah Mawer (ed.).

6150: 5100:, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 5046:, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 4445:, Oxford Music Online, Oxford University Press, retrieved 11 March 2015 1010:, composed between 1914 and 1917. The suite celebrates the tradition of 164:

and a notorious circus machine, the "Whirlwind of Death", an automotive

7736: 7683: 7635: 7572: 6947: 5586:, Volume I, pp. 60, 183, 159 and 219; and Orenstein (2003), pp. 534–535 3848:

Nichols (1987), pp. 70 (Vaughan Williams), 36 (Rosenthal) and 32 (Long)

2922: 1705: 1498: 1482: 1470: 1458: 1307: 1161: 1156: 1028: 994:

in September 1916, and had frostbite in his feet the following winter.

678: 656: 650: 596: 353:"Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by 262: 203: 148: 136: 70:. He liked to experiment with musical form, as in his best-known work, 7940: 7653:

Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet

7266: 6921: 6807: 6541: 6413: 6357:

Kilpatrick, Emily (2009). "The Carbonne Copy: Tracing the première of

6202: 6096: 1974:

Ravel's four chamber works composed after the First World War are the

1240:, he decided on "an experiment in a very special and limited direction 856:, London, within weeks of the Paris premiere, and was repeated at the 2860: 2223: 1963:

Introduction and Allegro for harp, flute, clarinet and string quartet

1780: 1454: 1450: 1396: 1395:

Ravel drew on many generations of French composers from Couperin and

1333: 1226:, became his most famous. He was commissioned to provide a score for 600: 448: 296: 230: 6056:

The Composer as Intellectual: Music and Ideology in France 1914–1940

5322:

Orenstein (1981), p. 32; and Sackville-West and Shawe-Taylor, p. 613

1999:

Ravel's interpretations of some of his piano works were captured on

191:

suggests that the boy may have been chiefly educated by his father.

7258: 6913: 6533: 6340:

Music and Ultra-modernism In France: A Fragile Consensus, 1913–1939

2047:. He accepted foreign awards, including honorary membership of the 1119:. Jazz was popular in Parisian cafés, and French composers such as 8026: 3458:

Pasler, p. 403; Nichols (1977), p. 20; and Orenstein (1991), p. 28

3440:

Nichols, pp. 57 and 106; and Lesure and Nectoux, pp. 15, 16 and 28

2665: 2661: 2401: 2354:

in 1945, in which Ravel (played by Oscar Loraine) tells Gershwin (

1710: 1512: 1502: 1494: 1404: 1362: 1248:, and has been recorded several hundred times. Ravel commented to 1054: 962: 951:

would be seen as an event of historic importance equal to that of

857: 825: 755: 694: 604: 572: 508: 460: 383: 309: 219: 143:, 18 kilometres (11 mi) from the Spanish border. His father, 122: 27: 7198:(second ed.). Berkeley, US: University of California Press. 5221:

Sackville-West and Shawe-Taylor, pp. 611–612; and Goddard, p. 292

2477:. By 1924 Satie had repudiated Poulenc and another former friend 7420: 7410: 7366: 2495: 2441:

translators, you can imagine the timbre of these conversations."

1783:

and Saint-Saëns, alongside use of jazz-like themes. The critics

1561:; he made sketches for it in 1898–99, but did not progress far. 1112: 303:

writes that for Ravel the 1890s were a period "of immense growth

67: 7424: 2552:

listed more than 3,500 new or reissued recordings of the piece.

2312:

Literally "Games of water", sometimes translated as "Fountains"

1316:(1933), but he was unable to meet the production schedule, and 1434:, eschewing the familiar major or minor scales. Chords of the 933:

for soprano and chamber ensemble, and two short piano pieces,

371:(for four hands), the latter eventually incorporated into the 334:, he "was only teachable on his own terms". His later teacher 234: 7951: 4073:

Orenstein (1991), p. 60; and "Return of the Russian Ballet",

3479:

Orledge, p. 65 (Dubois); and Donnellon, pp. 8–9 (Saint-Saëns)

1310:. Before the accident he had begun work on music for a film, 1948:, and the piano versions never sound quite the same again." 1854: 1411:, often using traditional structures and forms, such as the 1324:

and orchestra intended for the film; they were published as

975:

When Germany invaded France in 1914 Ravel tried to join the

5751:"David Diamond Papers, Music Division, Library of Congress" 2348:

This remark was modified by Hollywood writers for the film

2140: 2119: 2110: 914:

obliged him to rest for several months after the premiere.

630:

Among those taking a close interest in the controversy was

7416:

Maurice Ravel's Friends Society: Les Amis de Maurice Ravel

7415: 7379: 7044:

Entrancing Muse: A Documented Biography of Francis Poulenc

5828:"Ohana, Maurice: 12 Etudes d'interpretation Vol.1 (piano)" 4589: 4587: 3161:

Orenstein (1991), pp. 11–12; and Nichols (2011), pp. 10–11

2222:

Respectively, "A great black sleep" and "Anne playing the

1708:

in the relationships of one orchestral group to another."

1583:. The third unrealised project was an operatic version of 1328:. The manuscript orchestral score is in Ravel's hand, but 377:. At around this time, Joseph Ravel introduced his son to 5853:"Doppelbauer, Josef Friedrich - Toccata und Fuge - organ" 2131: 1320:

wrote most of the score. Ravel completed three songs for

424:

In May 1897 Ravel conducted the first performance of the

6900:

Pasler, Jann (June 1982). "Stravinsky and the Apaches".

4626:

Orenstein (1991), p. 99; and Nichols (2011), pp. 300–301

3003: 3001: 2248:

Ravel produced an orchestral version eleven years later.

2015:, and by the early 1920s there were discs featuring the 343:, for piano, and "Ballade de la Reine morte d'aimer", a 6213:(2000). "Ravel and the piano". In Deborah Mawer (ed.). 6125:"Maurice Ravel's Illness: A Tragedy of Lost Creativity" 1252:, one of Les Six, "I've written only one masterpiece – 555:. Ravel, together with his close friend and confidante 4274:

Kelly (2000), p. 9; Macdonald, p. 333; and Zank, p. 10

3897:, 27 April 1909, p. 8; and Nichols (2011), pp. 108–109 3729: 3727: 3612:, Oxford University Press, retrieved 27 February 2015 2584:, examining Ravel's clinical history and arguing that 1672:. Among the poets on whose lyrics he drew were Marot, 168:

that was a major attraction until a fatal accident at

7881: 4318: 4316: 2823:

No. 4 "Main gauche seule (in memoriam Maurice Ravel)"

2152: 2067:

paid for performing Ravel's music, the news magazine

6784:(October 1967). "Maurice Ravel's Creative Process". 5648:, Royal Philharmonic Society, retrieved 7 April 2015 4218:

Orenstein (2003), p. 180; and Nichols (2011), p. 187

2809:(also has been arranged for harp by Mario Falcao), 2143: 2137: 2128: 2122: 2116: 2107: 894:

was commissioned in or about 1909 by the impresario

809:

The first of Ravel's two operas, the one-act comedy

194:

When he was seven, Ravel started piano lessons with

7818: 7765: 7693: 7645: 7617: 7522: 7471: 7070:(2nd ed.). New York and London: W. W. Norton. 6747:. New Haven, US and London: Yale University Press. 5458:, Oxford University Press, retrieved 31 March 2015 5292:, Oxford University Press, retrieved 16 March 2015 4953:, Oxford University Press, retrieved 13 March 2015 4885:, Oxford University Press, retrieved 13 March 2015 4388:

Orenstein (1991), p. 78; and Nichols (2011), p. 210

3742:

Nichols (2011), pp. 26–30; and Pollack, pp. 119–120

2134: 2113: 1446:, are characteristic of Ravel's harmonic language. 1268:first. It was commissioned by the Austrian pianist 1222:The last composition Ravel completed in the 1920s, 1176:, 50 kilometres (31 mi) west of Paris, in the 1044:and by Vaughan Williams and his English colleagues 902:. Ravel began work with Diaghilev's choreographer, 8156:Honorary members of the Royal Philharmonic Society 7214: 6256: 4529:, Ville Montfort-l'Amaury, retrieved 11 March 2015 3303:Nichols (2011), p. 35; and Orenstein (1991), p. 26 6834:Orenstein, Arbie (Winter 1995). "Maurice Ravel". 1449:Dance forms appealed to Ravel, most famously the 1407:and Chopin. He considered himself in many ways a 1127:, and its influence is heard in his later music. 151:near the Franco-Swiss border. His mother, Marie, 6983:. Berkeley, US: University of California Press. 1775:In some of his scores from the 1920s, including 1360:coma. He died on 28 December, at the age of 62. 106:(1912) require skilful balance in performance. 6587:Morrison, Simon (Summer 2004). "The Origins of 6427:: The Realisation of an Inherited Aesthetic in 5027: 5025: 4781:"A Disease That Allowed Torrents of Creativity" 4028:Morrison, pp. 63–64; and Nichols (2011), p. 141 1418: 1287: 1186: 790:and the original piano duet version of Ravel's 349:setting a poem by Roland de Marès (both 1893). 275:along with other pupils of Decombes, including 249:in Paris in 1889, Ravel was much struck by the 202:; five years later, in 1887, he began studying 3553: 3551: 1517:Sketches of the cast for the 1911 premiere of 1089:were successfully revived at the Paris Opéra. 210:and composition with Charles-René, a pupil of 7436: 6390:(October 1939). "Maurice Ravel (1875–1937)". 6039:. Princeton, US: Princeton University Press. 5998:. Aldershot, UK and Burlington, US: Ashgate. 1063:, where Ravel lived from 1921 until his death 8: 7221:. Urbana, US: University of Illinois Press. 7005:(in French). Paris and Geneva: La Palatine. 6518:(April 1975). "Ravel and the Prix de Rome". 6488:(in French). Paris: Bibliothèque nationale. 5343:Sackville-West and Shawe-Taylor, pp. 613–614 3884:Whitesell, p. 78; and Nichols (2011), p. 350 2055:in 1926, and an honorary doctorate from the 19:"Ravel" redirects here. For other uses, see 8066:20th-century French male classical pianists 7217:Queer Episodes in Music and Modern Identity 6630:Murray, David (1997) . "Maurice Ravel". In 5669:, Montfort l’Amaury, retrieved 7 April 2022 2831:Toccata and Fugue in memoriam Maurice Ravel 1266:Piano Concerto in D major for the Left Hand 322:In 1891 Ravel progressed to the classes of 7443: 7429: 7421: 5677: 5675: 4838: 4836: 3574: 3572: 2918:Longman Dictionary of Contemporary English 2325:, which he wrote for the 1901 competition. 1833:". Ravel's earliest major work for piano, 1579:which he incorporated into the opening of 261:, as did the exotic sound of the Javanese 7344:International Music Score Library Project 7177:R.V.W. – A Life of Ralph Vaughan Williams 6885:. Cambridge: Cambridge University Press. 6766:. Cambridge: Cambridge University Press. 6726:. Cambridge: Cambridge University Press. 6666:. Cambridge: Cambridge University Press. 6323:. Cambridge: Cambridge University Press. 6219:. Cambridge: Cambridge University Press. 6158: 5979:. Cambridge: Cambridge University Press. 5738:International Music Score Library Project 5368: 5366: 4739: 4737: 4735: 4340:Orenstein (1967), p. 479; and Zank, p. 11 3677: 3675: 3545:Orenstein (1991), p. 33; and James, p. 20 3104: 3102: 2599:Grove's Dictionary of Music and Musicians 2257:Ravel was 160 centimetres (5ft 3in) tall. 2023:, and movements from the String Quartet, 1256:. Unfortunately there's no music in it." 1081:followed in December. The following year 492:conducted the premiere of Debussy's opera 8136:French military personnel of World War I 6572:. Lanham, US: Rowman & Littlefield. 5535: 5533: 5330: 5328: 4601: 4599: 4409: 4407: 4405: 4403: 4261: 4259: 4257: 4247: 4245: 3100: 3098: 3096: 3094: 3092: 3090: 3088: 3086: 3084: 3082: 2367:Ravel's other students were principally 7964: 7888: 7391:Newspaper clippings about Maurice Ravel 5518:Sackville-West and Shawe-Taylor, p. 612 5505: 5503: 5334:Sackville-West and Shawe-Taylor, p. 613 5266:Sackville-West and Shawe-Taylor, p. 610 5239:Sackville-West and Shawe-Taylor, p. 611 4539: 4537: 4535: 4235: 4233: 4001:"New York Symphony in New Aeolian Hall" 3721:Sackville-West and Shawe-Taylor, p. 607 3466: 3464: 3427: 3425: 2847: 2689:'s four-hands arrangement for piano of 2095: 1944:in the classic recordings conducted by 1641:. The same technique is highlighted in 7196:Stravinsky: The Composer and his Works 5404: 5402: 3514: 3512: 3347: 3345: 3212: 3210: 3208: 3177: 3175: 3173: 3171: 3169: 3167: 2747:Piano Concerto for the Left Hand No. 2 2204:"Ballad of the queen who died of love" 1890: 1764:(originally for violin and piano) and 1610:The second opera, also in one act, is 8111:Neurological disease deaths in France 7625:Piano Concerto in D for the Left Hand 7157:. New York: Oxford University Press. 7092:. New York: Oxford University Press. 5956:. Pompton Plains, US: Amadeus Press. 4471:Orenstein (1991), pp. 84, 186 and 197 4379:Schonberg, p. 468; and Larner, p. 188 3819:Griffiths, Paul, and Anthony Burton. 3717: 3715: 3642:Hill, p. 134; and Duchen, pp. 149–150 3233: 3231: 3054: 3052: 2167: 1804:. Orchestral versions of the last by 1741:, or as a reworking of piano pieces, 1385:List of compositions by Maurice Ravel 295:. In November 1889, playing music by 233:, Russian music, and the writings of 7: 8191:People with traumatic brain injuries 8101:Burials at Levallois-Perret Cemetery 7155:Music in the Early Twentieth Century 6502:from the original on 11 October 2015 5775:"American Harp Society Tape Library" 5569:"Gramophone (Phonograph) Recordings" 4915:Nichols (2011), pp. 291, 314 and 319 2803:Waltz "In Memoriam of Maurice Ravel" 1829:to the transcendental virtuosity of 866:praised "the enchantment of the work 265:, also heard during the Exposition. 225:In 1888 Ravel met the young pianist 8166:Jazz-influenced classical composers 6660:Gabriel Fauré – A Musical Life 6421:Lanford, Michael (September 2011). 6058:. Oxford: Oxford University Press. 5374:"All the best: Ravel's piano music" 4645:, WorldCat, retrieved 21 April 2015 3682:"Hidden clue to composer's passion" 2929:from the original on 7 October 2019 2647:takes a few liberties, so too does 2632:the critic Andrew Clements wrote, " 1908:... and the two outer movements of 307:... from adolescence to maturity". 8076:19th-century French male musicians 7276:Maurice Ravel: A Guide to Research 7046:. Hillsdale, US: Pendragon Press. 6980:George Gershwin: His Life and Work 6957:Gabriel Fauré: A Guide to Research 6688:. Master Musicians. London: Dent. 5801:Sinfonia in memoriam Maurice Ravel 5799:"Donemus Webshop – Largo from the 4527:"La maison-musée de Maurice Ravel" 3821:"Tailleferre, Germaine (Marcelle)" 3633:Macdonald, p. 332; and Kelly, p. 8 2811:Sinfonia in memoriam Maurice Ravel 2685:Works dedicated to Ravel include: 2628:In a 2001 survey of recordings of 2578:. This followed a 2002 article in 1940:and the complete ballet music for 1594:Ravel's first completed opera was 43:along with his elder contemporary 14: 6342:. Woodbridge, UK: Boydell Press. 6179:(January 1927). "Maurice Ravel". 6107:Bolero: The Life of Maurice Ravel 5915:Debussy and Ravel String Quartets 5098:The New Grove Dictionary of Opera 5044:The New Grove Dictionary of Opera 4974:Orenstein (1991), pp. 190 and 193 4865:"; Ratner, Sabina Teller, et al. 3893:"Société des Concerts Français", 2581:The European Journal of Neurology 2266:Other members were the composers 1660:Cinq mélodies populaires grecques 872:Adélaïde ou le langage des fleurs 794:. The performers included Fauré, 654:(1906, from the 1905 piano suite 595:, past winners of which included 520:Debussy was widely held to be an 484:as well as their French friends. 8081:20th-century classical composers 8061:19th-century classical composers 8018: 8001: 7984: 7967: 7939: 7927: 7915: 7903: 7891: 7866: 7865: 7067:The Lives of the Great Composers 6764:The Cambridge Companion to Ravel 6724:The Cambridge Companion to Ravel 6321:The Cambridge Companion to Ravel 6302:Gabriel Fauré: A Life in Letters 6216:The Cambridge Companion to Ravel 5973:The Cambridge Companion to Ravel 5895:10.1046/j.1468-1331.2002.00351.x 4572:"Music: Ravel in American Debut" 3948:Kilpatrick, pp. 103–104, and 106 3798:, Oxford University Press, 2003 3401:Orenstein (1991), pp. 19 and 104 3118:, Oxford University Press, 2001 2795:Elegy in Memory of Maurice Ravel 2793:Works commemorating him include 2103: 1891:Problems playing this file? See 1870: 179:; Marie was also something of a 8146:French people of Basque descent 8086:20th-century conductors (music) 7744:Pavane pour une infante défunte 7580:Pavane pour une infante défunte 7179:. Oxford and New York: Oxford. 5657:Orenstein (1991), pp. 92 and 99 3827:, Oxford University Press, 2011 3392:Nichols (1987), pp. 118 and 184 2017:Pavane pour une infante défunte 1968:Pavane pour une infante défunte 1866:Pavane pour une infante défunte 1755:Valses nobles et sentimentales, 1336:, and have variously suggested 646:Pavane pour une infante défunte 444:Pavane pour une infante défunte 419:a single movement violin sonata 391:, Ravel's teacher and supporter 318:in 1895, with Ravel on the left 8151:French people of Swiss descent 7756:Valses nobles et sentimentales 7608:Valses nobles et sentimentales 5705:Inchauspé, Irene. (In French) 5667:"Maurice Ravel’s museum house" 5087:"Enfant et les sortilèges, L'" 3202:Nichols (2011), pp. 11 and 390 2890:Merriam-Webster.com Dictionary 1444:Valses nobles et sentimentales 876:Valses nobles et sentimentales 692:(1914–17, orchestrated 1919). 673:Valses nobles et sentimentales 670:(1908–10, orchestrated 1911), 543:and the orchestral song cycle 1: 8091:20th-century French composers 8071:19th-century French composers 6123:Henson, R. A. (4 June 1988). 5977:Cambridge Companions to Music 5883:European Journal of Neurology 5639:"Honorary Members since 1826" 5620:Orenstein (2003), pp. 534–537 5286:"Musorgsky, Modest Petrovich" 5257:Orenstein (1991), pp. 204–205 4717:Orenstein (2003), pp. 535–536 4443:The Oxford Companion to Music 4251:Orenstein (2003), pp. 230–231 3825:The Oxford Companion to Music 3606:"Winners of the Prix de Rome" 3374:, BBC, retrieved 4 March 2014 3255:Nichols (1987), pp. 73 and 91 2819:Douze etudes d'interprétation 2086:Notes, references and sources 927:, and his own works were the 8196:Prix de Rome for composition 7826:Pierre-Joseph Ravel (father) 7354:Choral Public Domain Library 7350:Free scores by Maurice Ravel 7340:Free scores by Maurice Ravel 7325:Resources in other libraries 7194:White, Eric Walter (1984) . 6570:Twilight of the Belle Epoque 6553:(in French). Paris: Fayard. 5734:Free scores by Maurice Ravel 5539:Orenstein (2003) pp. 532–533 4525:Nichols (1987), p. 134; and 3122:UK public library membership 1841:consider that works such as 1620:, and the jazz elements and 766:Société Nationale de Musique 8176:French male opera composers 7663:Sonata for Violin and Cello 7395:20th Century Press Archives 6955:Phillips, Edward R (2011). 6707:. London: Faber and Faber. 5629:Nichols (2011), pp. 206–207 5410:"Ravel: Gaspard de la Nuit" 5019:Nichols (1987), pp. 171–172 4927:in Orenstein (1991), p. 131 4608:in Orenstein (2003), p. 477 4331:Orenstein (1991), pp. 82–83 4191:Fulcher (2001), pp. 207–208 3365:"Maurice Ravel – Biography" 3025:Orenstein (1995), pp. 91–92 2835:Josef Friedrich Doppelbauer 1976:Sonata for Violin and Cello 1958:Sonata for Violin and Piano 726:Complexe mais pas compliqué 702:, one of Ravel's few pupils 676:(1911, orchestrated 1912), 660:), the Habanera section of 409:Michel-Dimitri Calvocoressi 218:, variations on a theme by 16:French composer (1875–1937) 8212: 8131:French classical composers 7488:L'enfant et les sortilèges 6857:Orenstein, Arbie (2003) . 6815:Orenstein, Arbie (1991) . 6338:Kelly, Barbara L. (2013). 6304:. London: B. T. Batsford. 6240:. New York: Welcome Rain. 5996:French Music since Berlioz 5137:, performances since 2010. 4352:in Orenstein (2003), p. 32 3285:in Orenstein (1991), p. 33 3264:Jankélévitch, pp. 8 and 20 2521:"The Child and the Spells" 2049:Royal Philharmonic Society 1956:Apart from a one-movement 1921:Menuet sur le nom de Haydn 1613:L'enfant et les sortilèges 1382: 1152:L'enfant et les sortilèges 175:Both Ravel's parents were 170:Barnum and Bailey's Circus 162:internal combustion engine 18: 8171:Legion of Honour refusals 7861: 7730:Menuet sur le nom d'Haydn 7587:Pictures at an Exhibition 7458: 7372:22 September 2017 at the 7367:Maurice Ravel Frontispice 7320:Resources in your library 7143:10.1525/ncm.2001.24.3.225 7127:10.1525/ncm.2001.24.3.225 7001:; Stéphane Audel (1963). 6640:. London: Penguin Books. 6485:Maurice Ravel: Exposition 6300:Jones, J. Barrie (1989). 6263:. London: Omnibus Press. 6143:10.1136/bmj.296.6636.1585 6054:Fulcher, Jane F. (2005). 4729:in Nichols (1987), p. 173 4699:Nichols and Mawer, p. 266 4690:Nichols and Mawer, p. 256 4641:26 September 2017 at the 4617:Nichols (1987), pp. 47–48 4578:, 16 January 1928, p. 25 4516:Lesure and Nectoux, p. 45 4462:in Nichols (1987), p. 117 4413:Lesure and Nectoux, p. 10 4292:Poulenc and Audel, p. 175 4173:in Nichols (1987), p. 113 4055:Nichols (1987), pp. 41–43 3866:Nichols (1987), pp. 35–36 3700:Nichols (2011), pp. 66–67 3596:Nichols (2011), pp. 58–59 3419:Nichols (1987), pp. 10–14 3294:Nichols (1977), pp. 14–15 3112:"Ravel, (Joseph) Maurice" 2235:This critic was "Willy", 2169:[ʒozɛfmɔʁisʁavɛl] 1802:Pictures at an Exhibition 1453:and pavane, but also the 1425:Ravel to Vaughan Williams 1373:Levallois-Perret cemetery 1346:Creutzfeldt–Jakob disease 1277:Piano Concerto in G major 1146:Pictures at an Exhibition 874:, danced to the score of 686:, orchestrated 1918) and 324:Charles-Wilfrid de Bériot 87:Pictures at an Exhibition 66:and, in his later works, 8096:Ballets Russes composers 7802:Trois poèmes de Mallarmé 7788:Don Quichotte à Dulcinée 7173:Vaughan Williams, Ursula 7042:Schmidt, Carl B (2001). 6623:10.1525/ncm.2004.28.1.50 6607:10.1525/ncm.2004.28.1.50 6568:McAuliffe, Mary (2014). 6104:Goss, Madeleine (1940). 5930:Anderson, Keith (1994). 5910:Anderson, Keith (1989). 5611:Orenstein (2003), p. 536 5441:Orenstein (1991), p. 181 5313:Orenstein (1991), p. 193 5146:Orenstein (1991), p. 157 4983:Orenstein (1991), p. 192 4965:Orenstein (1991), p. 132 4936:Orenstein (1991), p. 131 4906:Orenstein (1991), p. 135 4752:Orenstein (1991), p. 105 4593:Orenstein (1991), p. 104 4200:Orenstein (2003), p. 169 3792:"Vauchant(-Arnaud), Léo" 3781:Orenstein (1991), p. 112 3754:in Nichols (1987), p. 67 3536:Orenstein (1991), p. 127 3527:Orenstein (2003), p. 421 3431:Orenstein (1991), p. 111 3370:11 February 2018 at the 3134:Orenstein (1967), p. 475 2715:4 Hommages pour le piano 2695:Balthazar de Beaujoyeulx 2398:steak and kidney pudding 1929:À la manière de Chabrier 1925:À la manière de Borodine 1665:Deux mélodies hébraïques 1644:Trois poèmes de Mallarmé 1326:Don Quichotte à Dulcinée 939:À la manière de Chabrier 935:À la manière de Borodine 930:Trois poèmes de Mallarmé 860:later in the same year. 778:, Debussy's piano suite 8161:Impressionist composers 8121:French ballet composers 7278:. New York: Routledge. 6883:Debussy and the Theatre 6817:Ravel: Man and Musician 6741:Nichols, Roger (2011). 6703:Nichols, Roger (1987). 6637:The Penguin Opera Guide 6456:Larner, Gerald (1996). 6436:The Cambridge Quarterly 6255:James, Burnett (1987). 6234:Ivry, Benjamin (2000). 6177:Hill, Edward Burlingame 6130:British Medical Journal 5950:Canarina, John (2003). 5573:(subscription required) 5567:Kennedy, Michael (ed). 5509:Orenstein (2003), p. 32 5497:Orenstein (1991), p. 88 5460:(subscription required) 5294:(subscription required) 5155:Jankélévitch, pp. 29–32 5102:(subscription required) 5048:(subscription required) 4955:(subscription required) 4887:(subscription required) 4786:22 January 2017 at the 4681:Orenstein (1991), p 101 4580:(subscription required) 4561:Orenstein (1991), p. 95 4543:Orenstein (2003), p. 10 4447:(subscription required) 4422:Orenstein (1991), p. 84 4370:Orenstein (1991), p. 78 4161:Orenstein (1995), p. 93 4134:Canarina, pp. 42 and 47 4011:(subscription required) 3966:Orenstein (1991), p. 65 3839:Vaughan Williams, p. 79 3829:(subscription required) 3810:Orenstein (1991), p. 93 3800:(subscription required) 3614:(subscription required) 3449:Orenstein (1991), p. 28 3330:Orenstein (1991), p. 24 3225:Orenstein (1991), p. 14 3216:Orenstein (1995), p. 92 3193:Orenstein (1991), p. 11 3152:Orenstein (1991), p. 16 3034:Orenstein (1991), p. 10 2968:in Nichols (2011), p. 3 2867:Oxford University Press 2789:, and a String Trio by 2460:that he had joined the 1766:Le tombeau de Couperin. 1442:, such as those in the 1338:frontotemporal dementia 1302:British Medical Journal 1282:Pedro de Freitas Branco 780:D'un cahier d'esquisses 752:1910 to First World War 738:Hélène Jourdan-Morhange 468:Les Apaches and Debussy 361:, and the piano pieces 255:Nikolai Rimsky-Korsakov 8181:Neoclassical composers 8141:French opera composers 7836:Impressionism in music 7831:Close and open harmony 7716:Le Tombeau de Couperin 7545:Le Tombeau de Couperin 7274:Zank, Stephen (2005). 7090:The Compleat Conductor 7019:Sackville-West, Edward 6942:(in French): 311–347. 6863:. Mineola, US: Dover. 6819:. Mineola, US: Dover. 6449:10.1093/camqtly/bfr022 6279:Jankélévitch, Vladimir 5953:Pierre Monteux, Maître 5688:3 January 2017 at the 5396:Nichols (2011), p. 102 5304:Nichols (2011), p. 248 5275:Nichols (2011), p. 302 5173:Nichols (2011), p. 280 5058:Nichols (2011), p. 129 4945:Taruskin, p. 112; and 4867:"Saint-Saëns, Camille" 4761:Nichols (2011), p. 330 4654:Nichols (2011), p. 301 4489:Nichols (2011), p. 289 4397:Nichols (2011), p. 210 4361:Nichols (1987), p. 118 4265:Fulcher (2005), p. 139 4209:Fulcher (2001), p. 208 4152:Nichols (2011), p. 179 4125:Nichols (2011), p. 157 4116:Nichols (1987), p. 113 3991:, 28 August 1912, p. 7 3987:"Promenade Concerts", 3906:Nichols (2011), p. 109 3660:Woldu, pp. 247 and 249 3587:Nichols (1987), p. 102 3470:Nichols (1987), p. 101 3361:Langham Smith, Richard 3312:Nichols (1987), p. 178 3273:Nichols (1987), p. 183 3007:Orenstein (1991), p. 8 2995:Orenstein (1991), p. 9 2956:Nichols (2011), p. 390 2237:Henri Gauthier-Villars 2025:Le tombeau de Couperin 1938:Le tombeau de Couperin 1933:Le tombeau de Couperin 1859: 1747:Une barque sur l'ocean 1726: 1600:Edward Burlingame Hill 1534: 1525:Paul-Charles Delaroche 1501:, Chabrier, Fauré and 1422: 1368: 1291: 1191: 1075:Le tombeau de Couperin 1064: 1008:Le tombeau de Couperin 972: 878:, which opened at the 839: 761: 718:Ralph Vaughan Williams 703: 700:Ralph Vaughan Williams 689:Le tombeau de Couperin 651:Une barque sur l'océan 634:, owner and editor of 588: 517: 392: 319: 293:Conservatoire de Paris 247:Exposition Universelle 131:Ravel was born in the 128: 33: 21:Ravel (disambiguation) 7956:at Knowledge (XXG)'s 7658:Piano Trio in A minor 7531:Alborada del gracioso 7109:L'Invasion germanique 6959:. London: Routledge. 6800:10.1093/mq/liii.4.467 6787:The Musical Quarterly 6393:The Musical Quarterly 6237:Maurice Ravel: A Life 6195:10.1093/mq/xiii.1.130 6182:The Musical Quarterly 6037:Debussy and his World 5644:14 April 2015 at the 5554:16 April 2015 at the 5479:Anderson (1994), p. 5 5470:Anderson (1989), p. 4 5415:17 March 2017 at the 5182:Nichols (2011), p. 55 5092:16 March 2021 at the 5038:16 March 2021 at the 5033:"Heure espagnole, L'" 5010:Zank, pp. 105 and 367 5001:Lanford, pp. 248–249. 4803:Amaducci et al, p. 75 4770:Henson, pp. 1586–1588 4672:Nichols (1987), p. 92 4437:16 March 2021 at the 4077:, 10 June 1914, p. 11 3939:, 20 April 1910, p. 6 3933:"Courrier Musicale", 3857:Nichols (1987), p. 35 3733:Nichols (1987), p. 32 3687:30 March 2009 at the 3651:Nichols (1977), p. 32 3566:Nichols (2011), p. 52 3351:Nichols (2011), p. 30 3339:Nichols (1977), p. 12 3321:Nichols (1977), p. 15 3246:Nichols (2011), p. 14 2863:UK English Dictionary 2757:by Arthur Honegger, 2051:in 1921, the Belgian 1903:Alborada del gracioso 1858: 1785:Edward Sackville-West 1770:Alborada del gracioso 1743:Alborada del gracioso 1715:Original setting for 1714: 1577:"Symphonie horlogère" 1516: 1366: 1058: 966: 898:for his company, the 829: 788:Six pièces pour piano 759: 698: 679:Alborada del gracioso 648:(orchestrated 1910), 576: 512: 453:Princesse de Polignac 387: 313: 126: 31: 8126:French-Basque people 7795:Histoires naturelles 7496:L'éventail de Jeanne 7463:List of compositions 7239:Revue de musicologie 7062:Schonberg, Harold C. 7023:Desmond Shawe-Taylor 6932:Revue de musicologie 6837:The American Scholar 6656:Nectoux, Jean-Michel 6406:10.1093/mq/xxv.4.430 6364:Revue de musicologie 5716:2 April 2015 at the 5379:2 April 2015 at the 5248:Goddard, pp. 298–301 5230:Goddard, pp. 293–294 5164:Jankélévitch, p. 177 4992:Lanford, pp. 245–246 4823:"Ravel and religion" 4143:Jankélévitch, p. 179 4016:5 March 2016 at the 3691:, BBC, 27 March 2009 3488:McAuliffe, pp. 57–58 3058:Nichols (2011), p. 9 2977:Nichols (2011), p. 6 2947:Nichols (2011), p. 1 2873:on 26 February 2021. 2611:In 2009 the pianist 2385:Germaine Tailleferre 2373:Alexis Roland-Manuel 2057:University of Oxford 1789:Desmond Shawe-Taylor 1699:Alexis Roland-Manuel 1639:Histoires naturelles 1587:'s 1925 novel about 1100:. Stravinsky, whose 985:, his only work for 953:Pelléas et Mélisande 921:'s unfinished opera 495:Pelléas et Mélisande 37:Joseph Maurice Ravel 8186:People from Labourd 8106:Composers for piano 7774:Chansons madécasses 7678:String Quartet in F 7673:Violin Sonata No. 2 7668:Violin Sonata No. 1 7630:Piano Concerto in G 7380:"Discovering Ravel" 7029:. London: Collins. 6480:Jean-Michel Nectoux 6460:. London: Phaidon. 6137:(6636): 1585–1588. 6076:Music & Letters 6020:. London: Phaidon. 5807:webshop.donemus.com 5385:The Financial Times 5360:, 30 September 2011 4861:30 May 2020 at the 4852:Nectoux Jean-Michel 4842:Marnat, pp. 721–784 4779:Blakeslee, Sandra. 4507:Kelly (2000), p. 24 4322:Kelly (2000), p. 25 4310:Kelly (2013), p. 57 4283:Kelly (2013), p. 56 4037:Morrison, pp. 57–58 3518:Kelly (2000), p. 16 2383:, and the composer 2292:Michel Calvocoressi 1653:Chansons madécasses 1563:La cloche engloutie 1553:was to be based on 1543:La cloche engloutie 1342:Alzheimer's disease 1134:Chansons madécasses 586:Paris Conservatoire 567:Scandal and success 559:and the opera star 504:Camille Saint-Saëns 287:Paris Conservatoire 145:Pierre-Joseph Ravel 90:is the best known. 52:Paris Conservatoire 7702:Gaspard de la nuit 7594:Rapsodie espagnole 7114:19th-Century Music 6594:19th-Century Music 6110:. New York: Holt. 6089:10.1093/ml/6.4.291 5935:French Piano Trios 5707:"A qui profite le 5602:, Volume 10, p. xv 5456:Grove Music Online 5408:Clements, Andrew. 5290:Grove Music Online 5284:Oldani, Robert W. 5212:in Goddard, p. 292 4951:Grove Music Online 4883:Grove Music Online 4829:on 5 January 2015. 4792:The New York Times 4576:The New York Times 4089:in Morrison, p. 54 4009:, 9 November 1912 4006:The New York Times 3957:Kilpatrick, p. 132 3796:Grove Music Online 3610:Grove Music Online 3237:Kelly (2000), p. 7 3116:Grove Music Online 2711:Gustave Samazeuilh 2707:Esquisse d'Espagne 2630:Gaspard de la nuit 2572:The New York Times 2533:The New York Times 2512:"Madagascan Songs" 2422:"The Spanish Hour" 2045:Institut de France 2039:Honours and legacy 1914:Gaspard de la nuit 1910:Gaspard de la nuit 1860: 1843:Gaspard de la Nuit 1831:Gaspard de la nuit 1731:Rapsodie espagnole 1727: 1535: 1436:ninth and eleventh 1369: 1208:Serge Koussevitzky 1167:Violin Sonata No.2 1149:(1922), the opera 1065: 973: 944:The Rite of Spring 840: 762: 704: 662:Rapsodie espagnole 589: 518: 393: 374:Rapsodie espagnole 341:Sérénade grotesque 320: 129: 97:Gaspard de la nuit 34: 7879: 7878: 7504:L'heure espagnole 7301:Library resources 7285:978-0-8153-1618-3 7228:978-0-252-02740-6 7205:978-0-520-03985-8 7186:978-0-19-315411-7 7164:978-0-19-538484-0 7151:Taruskin, Richard 7099:978-0-19-506377-6 7086:Schuller, Gunther 7077:978-0-393-01302-3 7053:978-1-57647-026-8 6990:978-0-520-24864-9 6966:978-0-415-99885-7 6908:(1672): 403–407. 6902:The Musical Times 6892:978-0-521-22807-7 6870:978-0-486-43078-2 6826:978-0-486-26633-6 6773:978-0-521-64856-1 6754:978-0-300-10882-8 6733:978-0-521-64856-1 6714:978-0-571-14986-5 6695:978-0-460-03146-2 6673:978-0-521-23524-2 6647:978-0-14-051385-1 6579:978-1-4422-2163-5 6560:978-2-213-01685-6 6528:(1586): 332–333. 6521:The Musical Times 6495:978-2-7177-1234-6 6467:978-0-7148-3270-8 6359:L'Heure espagnole 6349:978-1-84383-810-4 6330:978-0-521-64856-1 6311:978-0-7134-5468-0 6270:978-0-7119-0987-8 6247:978-1-56649-152-5 6226:978-0-521-64856-1 6065:978-0-19-534296-3 6046:978-0-691-09041-2 6027:978-0-7148-3932-5 6005:978-0-7546-0282-8 5986:978-0-521-64856-1 5963:978-1-57467-082-0 5937:. Munich: Naxos. 5933:Notes to Naxos CD 5917:. Munich: Naxos. 5913:Notes to Naxos CD 5450:Griffiths, Paul. 5432:Schuller, pp. 7–8 5423:, 26 October 2001 5387:, 16 January 2013 5352:Osborne, Steven. 4879:"Debussy, Claude" 4458:Francis Poulenc, 3790:Laplace, Michel. 3624:Macdonald, p. 332 3383:Larner, pp. 59–60 3184:and Nectoux, p. 9 3120:(subscription or 2893:. Merriam-Webster 2771:Alexandre Tansman 2751:Utsyo Chakraborty 2731:3 Japanese Lyrics 1875: 1806:Mikhail Tushmalov 1670:Chants populaires 1632:Other vocal works 1618:L'heure espagnole 1596:L'heure espagnole 1581:L'heure espagnole 1520:L'heure espagnole 1270:Paul Wittgenstein 1174:Montfort-l'Amaury 1155:to a libretto by 1087:L'heure espagnole 1061:Montfort-l'Amaury 1012:François Couperin 992:amoebic dysentery 849:Mercure de France 812:L'heure espagnole 326:, for piano, and 316:Charles de Bériot 251:new Russian works 200:Emmanuel Chabrier 8203: 8031: 8023: 8022: 8021: 8014: 8006: 8005: 8004: 7997: 7989: 7988: 7987: 7980: 7972: 7971: 7970: 7960: 7944: 7943: 7932: 7931: 7930: 7920: 7919: 7918: 7908: 7907: 7906: 7896: 7895: 7894: 7887: 7869: 7868: 7781:Two Hebrew Songs 7480:Daphnis et Chloé 7445: 7438: 7431: 7422: 7387: 7289: 7270: 7247: 7232: 7220: 7209: 7190: 7168: 7146: 7103: 7081: 7057: 7038: 7027:The Record Guide 7014: 6999:Poulenc, Francis 6994: 6970: 6951: 6940: 6925: 6896: 6874: 6853: 6830: 6811: 6782:Orenstein, Arbie 6777: 6758: 6737: 6718: 6705:Ravel Remembered 6699: 6677: 6662:. Translated by 6651: 6626: 6589:Daphnis et Chloé 6583: 6564: 6545: 6511: 6509: 6507: 6476:Lesure, François 6471: 6452: 6417: 6383: 6372: 6353: 6334: 6315: 6296: 6274: 6262: 6251: 6230: 6206: 6172: 6162: 6119: 6100: 6069: 6050: 6031: 6009: 5990: 5967: 5946: 5926: 5906: 5868: 5867: 5865: 5863: 5849: 5843: 5842: 5840: 5838: 5824: 5818: 5817: 5815: 5813: 5795: 5789: 5788: 5786: 5784: 5779: 5771: 5765: 5764: 5762: 5760: 5755: 5747: 5741: 5731: 5725: 5703: 5697: 5679: 5670: 5664: 5658: 5655: 5649: 5636: 5630: 5627: 5621: 5618: 5612: 5609: 5603: 5593: 5587: 5581: 5575: 5574: 5565: 5559: 5546: 5540: 5537: 5528: 5525: 5519: 5516: 5510: 5507: 5498: 5495: 5489: 5488:Phillips, p. 163 5486: 5480: 5477: 5471: 5468: 5462: 5461: 5452:"String quartet" 5448: 5442: 5439: 5433: 5430: 5424: 5406: 5397: 5394: 5388: 5370: 5361: 5350: 5344: 5341: 5335: 5332: 5323: 5320: 5314: 5311: 5305: 5302: 5296: 5295: 5282: 5276: 5273: 5267: 5264: 5258: 5255: 5249: 5246: 5240: 5237: 5231: 5228: 5222: 5219: 5213: 5207: 5201: 5198: 5192: 5189: 5183: 5180: 5174: 5171: 5165: 5162: 5156: 5153: 5147: 5144: 5138: 5128: 5122: 5119: 5113: 5110: 5104: 5103: 5085:Nichols, Roger. 5083: 5077: 5074: 5068: 5065: 5059: 5056: 5050: 5049: 5031:Nichols, Roger. 5029: 5020: 5017: 5011: 5008: 5002: 4999: 4993: 4990: 4984: 4981: 4975: 4972: 4966: 4963: 4957: 4956: 4943: 4937: 4934: 4928: 4922: 4916: 4913: 4907: 4904: 4898: 4895: 4889: 4888: 4871:Lesure, François 4849: 4843: 4840: 4831: 4830: 4825:. 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Kelly 306: 103:Daphnis et Chloé 8211: 8210: 8206: 8205: 8204: 8202: 8201: 8200: 8116:French atheists 8036: 8035: 8034: 8024: 8019: 8017: 8013:from Wikisource 8007: 8002: 8000: 7990: 7985: 7983: 7973: 7968: 7966: 7963: 7959:sister projects 7958: 7950: 7938: 7928: 7926: 7916: 7914: 7910:Classical music 7904: 7902: 7892: 7890: 7882: 7880: 7875: 7857: 7814: 7761: 7689: 7641: 7613: 7518: 7467: 7454: 7449: 7407: 7378: 7374:Wayback Machine 7363: 7336: 7331: 7330: 7329: 7309: 7308: 7304: 7297: 7292: 7286: 7273: 7241: 7235: 7229: 7212: 7206: 7193: 7187: 7171: 7165: 7149: 7111:in the 1870s". 7106: 7100: 7084: 7078: 7060: 7054: 7041: 7017: 7003:Moi et mes amis 6997: 6991: 6975:Pollack, Howard 6973: 6967: 6954: 6934: 6928: 6899: 6893: 6879:Orledge, Robert 6877: 6871: 6856: 6833: 6827: 6814: 6780: 6774: 6761: 6755: 6740: 6734: 6721: 6715: 6702: 6696: 6680: 6674: 6654: 6648: 6629: 6586: 6580: 6567: 6561: 6548: 6516:Macdonald, Hugh 6514: 6505: 6503: 6496: 6474: 6468: 6455: 6420: 6386: 6366: 6356: 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1871: 1868: 1861: 1855: 1823: 1694: 1634: 1572:The Sunken Bell 1527: 1511: 1438:and unresolved 1428: 1424: 1387: 1381: 1297: 1294:Igor Stravinsky 1293: 1262: 1250:Arthur Honegger 1241: 1199: 1195:Arbie Orenstein 1193: 1165:(1924) and the 1140:Pierrot Lunaire 1098:Richard Strauss 1020: 961: 867: 796:Florent Schmitt 754: 733:Marguerite Long 721: 713:George Gershwin 625:L'affaire Ravel 582:Théodore Dubois 569: 561:Lucienne Bréval 526: 482:Manuel de Falla 478:Igor Stravinsky 470: 430: 405:Théodore Dubois 400: 314:Piano class of 304: 301:Arbie Orenstein 289: 177:Roman Catholics 139:, France, near 121: 116: 114:Life and career 24: 17: 12: 11: 5: 8209: 8207: 8199: 8198: 8193: 8188: 8183: 8178: 8173: 8168: 8163: 8158: 8153: 8148: 8143: 8138: 8133: 8128: 8123: 8118: 8113: 8108: 8103: 8098: 8093: 8088: 8083: 8078: 8073: 8068: 8063: 8058: 8053: 8048: 8038: 8037: 8033: 8032: 8015: 7998: 7996:from Wikiquote 7981: 7952: 7949: 7948: 7936: 7924: 7912: 7900: 7877: 7876: 7874: 7873: 7862: 7859: 7858: 7856: 7855: 7850: 7843: 7838: 7833: 7828: 7822: 7820: 7816: 7815: 7813: 7812: 7809:Trois Chansons 7805: 7798: 7791: 7784: 7777: 7769: 7767: 7763: 7762: 7760: 7759: 7752: 7747: 7740: 7733: 7726: 7723:Menuet antique 7719: 7712: 7705: 7697: 7695: 7691: 7690: 7688: 7687: 7680: 7675: 7670: 7665: 7660: 7655: 7649: 7647: 7643: 7642: 7640: 7639: 7632: 7627: 7621: 7619: 7615: 7614: 7612: 7611: 7604: 7597: 7590: 7583: 7576: 7569: 7566:Menuet antique 7562: 7555: 7548: 7541: 7534: 7526: 7524: 7520: 7519: 7517: 7516: 7508: 7500: 7492: 7484: 7475: 7473: 7469: 7468: 7466: 7465: 7459: 7456: 7455: 7450: 7448: 7447: 7440: 7433: 7425: 7419: 7418: 7413: 7406: 7403: 7402: 7401: 7388: 7376: 7362: 7359: 7358: 7357: 7347: 7335: 7332: 7328: 7327: 7322: 7317: 7311: 7310: 7299: 7298: 7296: 7295:External links 7293: 7291: 7290: 7284: 7271: 7259:10.2307/947128 7253:(2): 245–267. 7233: 7227: 7210: 7204: 7191: 7185: 7169: 7163: 7147: 7121:(3): 225–251. 7104: 7098: 7082: 7076: 7058: 7052: 7039: 7015: 6995: 6989: 6971: 6965: 6952: 6926: 6914:10.2307/964115 6897: 6891: 6875: 6869: 6860:A Ravel Reader 6854: 6831: 6825: 6812: 6794:(4): 467–481. 6778: 6772: 6759: 6753: 6738: 6732: 6719: 6713: 6700: 6694: 6682:Nichols, Roger 6678: 6672: 6652: 6646: 6627: 6584: 6578: 6565: 6559: 6546: 6534:10.2307/960328 6512: 6494: 6472: 6466: 6453: 6443:(3): 243–265. 6418: 6400:(4): 430–441. 6388:Landormy, Paul 6384: 6354: 6348: 6335: 6329: 6316: 6310: 6297: 6275: 6269: 6252: 6246: 6231: 6225: 6207: 6173: 6120: 6101: 6083:(4): 291–303. 6070: 6064: 6051: 6045: 6032: 6026: 6010: 6004: 5991: 5985: 5968: 5962: 5947: 5927: 5907: 5877: 5875: 5872: 5870: 5869: 5857:www.boosey.com 5844: 5819: 5790: 5766: 5742: 5726: 5724:, 14 July 2000 5698: 5671: 5659: 5650: 5631: 5622: 5613: 5604: 5600:The Gramophone 5598:advertisement, 5588: 5584:The Gramophone 5576: 5560: 5541: 5529: 5520: 5511: 5499: 5490: 5481: 5472: 5463: 5443: 5434: 5425: 5398: 5389: 5362: 5345: 5336: 5324: 5315: 5306: 5297: 5277: 5268: 5259: 5250: 5241: 5232: 5223: 5214: 5202: 5193: 5184: 5175: 5166: 5157: 5148: 5139: 5123: 5114: 5112:Murray, p. 317 5105: 5078: 5076:Murray, p. 316 5069: 5060: 5051: 5021: 5012: 5003: 4994: 4985: 4976: 4967: 4958: 4947:"Leading note" 4938: 4929: 4917: 4908: 4899: 4890: 4844: 4832: 4814: 4805: 4796: 4794:, 8 April 2008 4772: 4763: 4754: 4745: 4731: 4719: 4710: 4701: 4692: 4683: 4674: 4665: 4656: 4647: 4636:"Ravel Bolero" 4628: 4619: 4610: 4595: 4583: 4570:Downes, Olin. 4563: 4554: 4545: 4531: 4518: 4509: 4500: 4498:Perret, p. 347 4491: 4482: 4473: 4464: 4451: 4424: 4415: 4399: 4390: 4381: 4372: 4363: 4354: 4342: 4333: 4324: 4312: 4303: 4294: 4285: 4276: 4267: 4253: 4241: 4229: 4220: 4211: 4202: 4193: 4184: 4182:Larner, p. 158 4175: 4163: 4154: 4145: 4136: 4127: 4118: 4109: 4100: 4091: 4079: 4066: 4057: 4048: 4039: 4030: 4021: 3993: 3980: 3968: 3959: 3950: 3941: 3926: 3917: 3908: 3899: 3886: 3877: 3868: 3859: 3850: 3841: 3832: 3812: 3803: 3783: 3774: 3765: 3756: 3744: 3735: 3723: 3711: 3702: 3693: 3671: 3662: 3653: 3644: 3635: 3626: 3617: 3598: 3589: 3580: 3568: 3559: 3547: 3538: 3529: 3520: 3508: 3499: 3490: 3481: 3472: 3460: 3451: 3442: 3433: 3421: 3412: 3403: 3394: 3385: 3376: 3353: 3341: 3332: 3323: 3314: 3305: 3296: 3287: 3275: 3266: 3257: 3248: 3239: 3227: 3218: 3204: 3195: 3186: 3163: 3154: 3145: 3136: 3127: 3078: 3069: 3060: 3048: 3046:in Goss, p. 23 3036: 3027: 3018: 3009: 2997: 2988: 2979: 2970: 2958: 2949: 2940: 2904: 2876: 2846: 2844: 2841: 2839: 2838: 2763:Maurice Delage 2691:Air Louis XIII 2678: 2653: 2634:Ivo Pogorelich 2621: 2613:Steven Osborne 2604: 2590: 2563: 2554: 2541: 2523: 2514: 2505: 2487: 2466: 2452: 2443: 2433: 2424: 2415: 2406: 2389: 2379:, the pianist 2369:Maurice Delage 2360: 2341: 2327: 2314: 2305: 2296: 2286:, the painter 2272:Maurice Delage 2259: 2250: 2241: 2228: 2215: 2206: 2197: 2188: 2174: 2094: 2092: 2089: 2087: 2084: 2040: 2037: 1996: 1993: 1984:Jelly d'Arányi 1953: 1950: 1946:André Cluytens 1888: 1879: 1869: 1864: 1863: 1862: 1853: 1852: 1851: 1822: 1819: 1810:Sir Henry Wood 1693: 1690: 1633: 1630: 1585:Joseph Delteil 1510: 1507: 1417: 1380: 1377: 1353:Clovis Vincent 1286: 1261: 1258: 1228:Ida Rubinstein 1185: 1121:Darius Milhaud 1102:Rite of Spring 1042:George Antheil 1038:Virgil Thomson 1019: 1016: 982:Trois Chansons 960: 957: 900:Ballets Russes 833:as Daphnis in 804:Pierre Monteux 770:Vincent d'Indy 753: 750: 632:Alfred Edwards 568: 565: 541:String Quartet 514:Claude Debussy 490:André Messager 469: 466: 364:Menuet antique 288: 285: 269:Émile Decombes 259:Claude Debussy 198:, a friend of 155:Delouart, was 120: 117: 115: 112: 45:Claude Debussy 15: 13: 10: 9: 6: 4: 3: 2: 8208: 8197: 8194: 8192: 8189: 8187: 8184: 8182: 8179: 8177: 8174: 8172: 8169: 8167: 8164: 8162: 8159: 8157: 8154: 8152: 8149: 8147: 8144: 8142: 8139: 8137: 8134: 8132: 8129: 8127: 8124: 8122: 8119: 8117: 8114: 8112: 8109: 8107: 8104: 8102: 8099: 8097: 8094: 8092: 8089: 8087: 8084: 8082: 8079: 8077: 8074: 8072: 8069: 8067: 8064: 8062: 8059: 8057: 8054: 8052: 8049: 8047: 8046:Maurice Ravel 8044: 8043: 8041: 8030:from Wikidata 8029: 8028: 8016: 8012: 8011: 7999: 7995: 7994: 7982: 7978: 7977: 7965: 7961: 7955: 7954:Maurice Ravel 7947: 7942: 7937: 7935: 7925: 7923: 7913: 7911: 7901: 7899: 7889: 7885: 7872: 7864: 7863: 7860: 7854: 7851: 7849: 7848: 7844: 7842: 7839: 7837: 7834: 7832: 7829: 7827: 7824: 7823: 7821: 7817: 7811: 7810: 7806: 7804: 7803: 7799: 7797: 7796: 7792: 7790: 7789: 7785: 7783: 7782: 7778: 7776: 7775: 7771: 7770: 7768: 7764: 7758: 7757: 7753: 7751: 7748: 7746: 7745: 7741: 7739: 7738: 7734: 7732: 7731: 7727: 7725: 7724: 7720: 7718: 7717: 7713: 7711: 7710: 7706: 7704: 7703: 7699: 7698: 7696: 7692: 7686: 7685: 7681: 7679: 7676: 7674: 7671: 7669: 7666: 7664: 7661: 7659: 7656: 7654: 7651: 7650: 7648: 7644: 7638: 7637: 7633: 7631: 7628: 7626: 7623: 7622: 7620: 7616: 7610: 7609: 7605: 7603: 7602: 7598: 7596: 7595: 7591: 7589: 7588: 7584: 7582: 7581: 7577: 7575: 7574: 7570: 7568: 7567: 7563: 7561: 7560: 7559:Ma mère l'Oye 7556: 7554: 7553: 7549: 7547: 7546: 7542: 7540: 7539: 7535: 7533: 7532: 7528: 7527: 7525: 7521: 7514: 7513: 7512:Ma mère l'Oye 7509: 7506: 7505: 7501: 7498: 7497: 7493: 7490: 7489: 7485: 7482: 7481: 7477: 7476: 7474: 7470: 7464: 7461: 7460: 7457: 7453: 7452:Maurice Ravel 7446: 7441: 7439: 7434: 7432: 7427: 7426: 7423: 7417: 7414: 7412: 7409: 7408: 7404: 7400: 7396: 7392: 7389: 7385: 7381: 7377: 7375: 7371: 7368: 7365: 7364: 7361:Miscellaneous 7360: 7355: 7351: 7348: 7345: 7341: 7338: 7337: 7333: 7326: 7323: 7321: 7318: 7316: 7313: 7312: 7307: 7306:Maurice Ravel 7302: 7294: 7287: 7281: 7277: 7272: 7268: 7264: 7260: 7256: 7252: 7249:(in French). 7248: 7245: 7240: 7234: 7230: 7224: 7219: 7218: 7211: 7207: 7201: 7197: 7192: 7188: 7182: 7178: 7174: 7170: 7166: 7160: 7156: 7152: 7148: 7144: 7140: 7136: 7132: 7128: 7124: 7120: 7116: 7115: 7110: 7105: 7101: 7095: 7091: 7087: 7083: 7079: 7073: 7069: 7068: 7063: 7059: 7055: 7049: 7045: 7040: 7036: 7032: 7028: 7024: 7020: 7016: 7012: 7008: 7004: 7000: 6996: 6992: 6986: 6982: 6981: 6976: 6972: 6968: 6962: 6958: 6953: 6949: 6945: 6941: 6938: 6933: 6927: 6923: 6919: 6915: 6911: 6907: 6903: 6898: 6894: 6888: 6884: 6880: 6876: 6872: 6866: 6862: 6861: 6855: 6851: 6847: 6843: 6839: 6838: 6832: 6828: 6822: 6818: 6813: 6809: 6805: 6801: 6797: 6793: 6789: 6788: 6783: 6779: 6775: 6769: 6765: 6760: 6756: 6750: 6746: 6745: 6739: 6735: 6729: 6725: 6720: 6716: 6710: 6706: 6701: 6697: 6691: 6687: 6683: 6679: 6675: 6669: 6665: 6664:Roger Nichols 6661: 6657: 6653: 6649: 6643: 6639: 6638: 6633: 6632:Amanda Holden 6628: 6624: 6620: 6616: 6612: 6608: 6604: 6600: 6596: 6595: 6590: 6585: 6581: 6575: 6571: 6566: 6562: 6556: 6552: 6551:Maurice Ravel 6547: 6543: 6539: 6535: 6531: 6527: 6523: 6522: 6517: 6513: 6501: 6497: 6491: 6487: 6486: 6481: 6477: 6473: 6469: 6463: 6459: 6458:Maurice Ravel 6454: 6450: 6446: 6442: 6438: 6437: 6432: 6430: 6426: 6419: 6415: 6411: 6407: 6403: 6399: 6395: 6394: 6389: 6385: 6381: 6377: 6373: 6370: 6365: 6360: 6355: 6351: 6345: 6341: 6336: 6332: 6326: 6322: 6317: 6313: 6307: 6303: 6298: 6294: 6290: 6286: 6285: 6280: 6276: 6272: 6266: 6261: 6260: 6253: 6249: 6243: 6239: 6238: 6232: 6228: 6222: 6218: 6217: 6212: 6208: 6204: 6200: 6196: 6192: 6188: 6184: 6183: 6178: 6174: 6170: 6166: 6161: 6156: 6152: 6148: 6144: 6140: 6136: 6132: 6131: 6126: 6121: 6117: 6113: 6109: 6108: 6102: 6098: 6094: 6090: 6086: 6082: 6078: 6077: 6071: 6067: 6061: 6057: 6052: 6048: 6042: 6038: 6033: 6029: 6023: 6019: 6018:Gabriel Fauré 6015: 6011: 6007: 6001: 5997: 5992: 5988: 5982: 5978: 5974: 5969: 5965: 5959: 5955: 5954: 5948: 5944: 5940: 5936: 5932: 5928: 5924: 5920: 5916: 5912: 5908: 5904: 5900: 5896: 5892: 5888: 5884: 5879: 5878: 5873: 5858: 5854: 5848: 5845: 5833: 5829: 5823: 5820: 5808: 5804: 5802: 5794: 5791: 5776: 5770: 5767: 5752: 5746: 5743: 5739: 5735: 5730: 5727: 5723: 5719: 5715: 5712: 5710: 5702: 5699: 5695: 5691: 5687: 5684: 5681:Henley, Jon. 5678: 5676: 5672: 5668: 5663: 5660: 5654: 5651: 5647: 5643: 5640: 5635: 5632: 5626: 5623: 5617: 5614: 5608: 5605: 5601: 5597: 5592: 5589: 5585: 5580: 5577: 5570: 5564: 5561: 5557: 5553: 5550: 5545: 5542: 5536: 5534: 5530: 5524: 5521: 5515: 5512: 5506: 5504: 5500: 5494: 5491: 5485: 5482: 5476: 5473: 5467: 5464: 5457: 5453: 5447: 5444: 5438: 5435: 5429: 5426: 5422: 5418: 5414: 5411: 5405: 5403: 5399: 5393: 5390: 5386: 5382: 5378: 5375: 5369: 5367: 5363: 5359: 5355: 5349: 5346: 5340: 5337: 5331: 5329: 5325: 5319: 5316: 5310: 5307: 5301: 5298: 5291: 5287: 5281: 5278: 5272: 5269: 5263: 5260: 5254: 5251: 5245: 5242: 5236: 5233: 5227: 5224: 5218: 5215: 5211: 5206: 5203: 5197: 5194: 5188: 5185: 5179: 5176: 5170: 5167: 5161: 5158: 5152: 5149: 5143: 5140: 5136: 5132: 5127: 5124: 5121:White, p. 306 5118: 5115: 5109: 5106: 5099: 5095: 5091: 5088: 5082: 5079: 5073: 5070: 5064: 5061: 5055: 5052: 5045: 5041: 5037: 5034: 5028: 5026: 5022: 5016: 5013: 5007: 5004: 4998: 4995: 4989: 4986: 4980: 4977: 4971: 4968: 4962: 4959: 4952: 4948: 4942: 4939: 4933: 4930: 4926: 4921: 4918: 4912: 4909: 4903: 4900: 4894: 4891: 4884: 4880: 4876: 4872: 4868: 4864: 4860: 4857: 4853: 4848: 4845: 4839: 4837: 4833: 4828: 4824: 4818: 4815: 4809: 4806: 4800: 4797: 4793: 4789: 4785: 4782: 4776: 4773: 4767: 4764: 4758: 4755: 4749: 4746: 4740: 4738: 4736: 4732: 4728: 4723: 4720: 4714: 4711: 4705: 4702: 4696: 4693: 4687: 4684: 4678: 4675: 4669: 4666: 4663:James, p. 126 4660: 4657: 4651: 4648: 4644: 4640: 4637: 4632: 4629: 4623: 4620: 4614: 4611: 4607: 4602: 4600: 4596: 4590: 4588: 4584: 4577: 4573: 4567: 4564: 4558: 4555: 4549: 4546: 4540: 4538: 4536: 4532: 4528: 4522: 4519: 4513: 4510: 4504: 4501: 4495: 4492: 4486: 4483: 4480:James, p. 101 4477: 4474: 4468: 4465: 4461: 4455: 4452: 4444: 4440: 4436: 4433: 4428: 4425: 4419: 4416: 4410: 4408: 4406: 4404: 4400: 4394: 4391: 4385: 4382: 4376: 4373: 4367: 4364: 4358: 4355: 4351: 4346: 4343: 4337: 4334: 4328: 4325: 4319: 4317: 4313: 4307: 4304: 4298: 4295: 4289: 4286: 4280: 4277: 4271: 4268: 4262: 4260: 4258: 4254: 4248: 4246: 4242: 4236: 4234: 4230: 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2827:Maurice Ohana 2824: 2820: 2816: 2815:Rudolf Escher 2812: 2808: 2804: 2800: 2799:David Diamond 2796: 2792: 2791:Roland-Manuel 2788: 2784: 2780: 2776: 2772: 2768: 2764: 2760: 2756: 2752: 2748: 2744: 2740: 2736: 2732: 2728: 2724: 2723:11 Inventions 2720: 2719:Ricardo Viñes 2716: 2712: 2708: 2704: 2700: 2699:Chant de joie 2696: 2692: 2688: 2682: 2679: 2675: 2671: 2667: 2663: 2657: 2654: 2650: 2646: 2635: 2631: 2625: 2622: 2618: 2614: 2608: 2605: 2601: 2600: 2594: 2591: 2587: 2583: 2582: 2577: 2573: 2567: 2564: 2558: 2555: 2551: 2545: 2542: 2538: 2535: 2534: 2527: 2524: 2518: 2515: 2509: 2506: 2501: 2497: 2491: 2488: 2480: 2479:Georges Auric 2476: 2470: 2467: 2463: 2456: 2453: 2447: 2444: 2437: 2434: 2428: 2425: 2419: 2416: 2410: 2407: 2403: 2399: 2393: 2390: 2386: 2382: 2378: 2374: 2370: 2364: 2361: 2357: 2353: 2352: 2345: 2342: 2338: 2331: 2328: 2324: 2318: 2315: 2309: 2306: 2300: 2297: 2293: 2289: 2285: 2281: 2277: 2273: 2269: 2263: 2260: 2254: 2251: 2245: 2242: 2238: 2232: 2229: 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At the 172:in 1903. 56:modernism 7871:Category 7750:Sonatine 7552:La valse 7515:(ballet) 7499:(ballet) 7483:(ballet) 7370:Archived 7175:(1964). 7153:(2010). 7088:(1997). 7064:(1981). 7025:(1955). 6977:(2007). 6881:(1982). 6850:41212291 6684:(1977). 6658:(1991). 6500:Archived 6482:(1975). 6380:40648547 6151:29530952 6016:(2000). 5903:11784380 5722:Le Point 5714:Archived 5686:Archived 5642:Archived 5596:Columbia 5552:Archived 5413:Archived 5377:Archived 5090:Archived 5036:Archived 4859:Archived 4784:Archived 4639:Archived 4435:Archived 4014:Archived 3685:Archived 3368:Archived 2927:Archived 2755:3 Pieces 2649:Argerich 2570:In 2008 2550:WorldCat 2548:In 2015 2070:Le Point 1927:(1912), 1923:(1909), 1735:La valse 1555:Hoffmann 1475:habanera 1463:rigaudon 1401:Schubert 1322:baritone 1215:and the 1169:(1927). 1159:(1926), 1079:La valse 1070:La valse 880:Châtelet 637:Le Matin 609:Massenet 429:debutant 369:Habanera 243:Mallarmé 216:Schumann 141:Biarritz 135:town of 7884:Portals 7819:Related 7737:Miroirs 7684:Tzigane 7646:Chamber 7636:Tzigane 7573:Miroirs 7507:(opera) 7491:(opera) 7397:of the 7393:in the 7352:in the 7346:(IMSLP) 7342:at the 6948:4494864 6634:(ed.). 6506:1 April 6169:3135020 6160:2545963 6116:2793964 5874:Sources 5740:(IMSLP) 5736:at the 5549:"Ravel" 2923:Longman 2885:"Ravel" 2739:9 Pezzi 2617:Gaspard 2337:solfège 2165:French: 1980:Tzigane 1847:Miroirs 1762:Tzigane 1751:Miroirs 1706:tam-tam 1551:Olympia 1539:Olympia 1499:Borodin 1483:Hebraic 1471:czardas 1459:forlane 1413:ternary 1308:aphasia 1232:Albéniz 1162:Tzigane 1157:Colette 1029:Les Six 971:in 1916 684:Miroirs 657:Miroirs 597:Berlioz 584:of the 516:in 1905 498:at the 346:mélodie 263:gamelan 204:harmony 149:Versoix 137:Ciboure 60:baroque 7922:France 7538:Boléro 7303:about 7282: 7267:947128 7265: 7225: 7202: 7183: 7161: 7141: 7133: 7096: 7074: 7050: 7033: 7009: 6987: 6963: 6946: 6922:964115 6920: 6889: 6867: 6848: 6823: 6808:741228 6806: 6770: 6751: 6730: 6711: 6692: 6670: 6644: 6621: 6613: 6576: 6557: 6542:960328 6540: 6492: 6464: 6429:Boléro 6414:738857 6412: 6378: 6346: 6327: 6308: 6291: 6267: 6244: 6223: 6203:738561 6201: 6167: 6157: 6149: 6114: 6097:725957 6095: 6062: 6043: 6024: 6002: 5983: 5960: 5941: 5921: 5901: 5709:Boléro 5210:Quoted 4925:Quoted 4869:; 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