Maurice Ravel - Knowledge (XXG)

1283:, 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." 1084:, 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 1723: 1403:'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. 921:. 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 It had an unenthusiastic reception and was quickly withdrawn, although it was revived successfully a year later in Monte Carlo and London.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; 194:, 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. 1255:... 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 1067: 2042:. 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 1525: 322: 975: 396: 707: 562:

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

40: 521: 1867: 1982:. 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. 1001:

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

585: 838: 135: 1997:. 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 7878: 536:

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

8014: 7997: 8031: 1375: 1043:

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

7928: 1790:, 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 7952: 7980: 1609:(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". 1034:

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

1516:, 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. 768: 7916: 310:, 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 7940: 1009:

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.

1194:. 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. 7904: 487:("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 1370:

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

1121:

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

1033:

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,

1000:

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.

783:. 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 721:

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

104:

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

2192:

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

2001:

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

1911:

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,

561:

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

363:

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

2470:

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

1827:

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

535:

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

474:

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

469:

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

2077:

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

1635:

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

225:. 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 1290:

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

1221:

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

1971:

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

1042:

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

1008:

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

654:

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

1647:

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",

197:

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

2451:

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

1613:

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

1848:(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 746:

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

2475:. 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. 1694:

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,

2630:, "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." 120:

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.

1316:

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

1885: 392:, 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". 726:

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

439:

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

1199:

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.

834:– 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. 65:; 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 1876: 1707:

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

1230:. 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". 5141: 2073:

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.

758:

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.

4649: 1627:(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 349:

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:

2345:

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

170:

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

1923:. 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 1359:. 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. 5100: 5046: 1946:

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

630:. 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, 498:

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

1012:

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

1216:

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

2513:

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

655:

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

432:, 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. 1426:, 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. 2492:. 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 1884: 4646: 1993:

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

651:, 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. 1802:

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,

1658:(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 742:

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

198:

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

626:, 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 410:. 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 4869: 8166: 1808:(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". 638:

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.

2461:

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.

240:, 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 990:. 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 517:

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.

1836:

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

1078:

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

1212:

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

4445: 622:

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

452:. 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: 8076: 1779:

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

5724: 558:(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". 2550:

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."

751:. 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 881:... 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 8146: 1343:

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

5652: 1972:

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

1648:

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

2662:." 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.") 2090:

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.

4024: 2224:

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.

8121: 8201: 8111: 1492:. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to 5387: 8176: 2609: 180: 8086: 6225: 5892:

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

1441:

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

817:

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.

5423: 2928: 282:

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

483:

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

8091: 8071: 7354: 5748: 3802: 3378: 3122: 2386:, whom together with Vaughan Williams and Rosenthal he dubbed his "School of Montfort", Others who took some lessons with him included the trombonist 3831: 2505:

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

8156: 8096: 7635: 5696: 4537: 1276: 731:, who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner 2424:

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

8161: 7453: 1300:

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.

1712:

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

634:, was on the jury, and only his students were selected for the final round; his insistence that this was pure coincidence was not well received. 5838: 4908:

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

2206:

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

8101: 8081: 7766: 7618: 5677: 422:, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture 7968: 5562: 1183:

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

8206: 7473: 7294: 7237: 7214: 7195: 7173: 7108: 7086: 7062: 6999: 6975: 6901: 6879: 6835: 6782: 6763: 6742: 6723: 6704: 6682: 6656: 6588: 6569: 6504: 6476: 6358: 6339: 6320: 6279: 6256: 6235: 6074: 6055: 6036: 6014: 5995: 5972: 5809: 1395: 1310:

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

58:, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. 899:

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

470:

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

8186: 7409: 7311: 863:

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

779:, founded in 1871 to promote the music of rising French composers, had been dominated since the mid-1880s by a conservative faction led by 7740: 6046:

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

1927:, "Le gibet" would "bore the audience to death". Some pianists continue to attract criticism for over-interpreting Ravel's piano writing. 513:. It divided musical opinion. Dubois unavailingly forbade Conservatoire students to attend, and the conductor's friend and former teacher 2054:

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

574:, contributed to a modest regular income for the deserted Lilly Debussy, a fact that Nichols suggests may have rankled with her husband. 414:... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, 8141: 7673: 7033: 1986: 1799: 5365:"Wrestling with Ravel : How do you get your fingers – and brain – round one of the most difficult pieces in the piano repertoire?" 2314:

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

8181: 7754: 7590: 1978: 958:. Stravinsky later said that Ravel was the only person who immediately understood the music. Ravel predicted that the premiere of the 454: 341:, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musicologist 2585:

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

776: 505: 8106: 2162: 1639:

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

1614:

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

406:

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

5717: 2332:

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

1675: 602:

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

4794: 3695: 2937: 2442:

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

8171: 8131: 7663: 7498: 1973: 1623: 1162: 722:

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

1912:

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

1038:

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

8191: 8151: 6847: 6692: 6674: 6005:

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

199: 6510: 5863: 2866: 5649: 1602:. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it. 683: 7812: 7798: 7422:

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

1654: 1356: 940: 4011: 2654:... Ravel's writing is so minutely calculated and carefully defined that he leaves interpreters little room for manoeuvre; 2572:

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

2018:, a better pianist. Transfers of the rolls have been released on compact disc. In 1913 there was a gramophone recording of 418:, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow student, 8136: 6526: 5987: 2591: 1366:, a well-known Paris neurosurgeon. Vincent advised surgical treatment. He thought a tumour unlikely, and expected to find 748: 257: 7894: 2484:

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

8196: 8116: 7364: 5606: 4582: 2250:, who came to be an admirer of Ravel. Ravel came to share his poor view of the overture, calling it "a clumsy botch-up". 334: 326: 4833: 3616: 890: 7683: 7678: 7640: 7446: 7405: 2845: 2302: 1968: 1287: 1177: 717:

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

642: 429: 419: 6289: 5384: 7506: 2063: 2059: 1740:

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

1722: 1636:

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

475:

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

172: 5569:, Discography search, AHRC Research Centre for the History and Analysis of Recorded Music, retrieved 15 March 2015 2650:... deserves to be on that list too, but his phrasing is so indulgent that in the end it cannot be taken seriously 7597: 1383: 1156: 261: 97: 7611: 5761: 2014:

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

1666:, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment. 424: 8126: 2809: 2705: 2623: 2408: 1860:

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

1586:

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

302:

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

6940:

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

6560:

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

5420: 7247:

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

7183: 6446: 6140: 2877: 2817: 2361: 1535: 1348: 1323: 1312: 1292: 1122:

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

444:... who will perhaps become something if not someone in about ten years, if he works hard". Another critic, 265: 253: 143: 50:(7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with 7380: 5364: 3375: 1989:(1920–22), the "Berceuse sur le nom de Gabriel Fauré" for violin and piano (1922), the chamber original of 1025:, the 18th-century French composer; each movement is dedicated to a friend of Ravel's who died in the war. 8056: 7920: 7881: 7846: 7841: 7819: 7784: 7726: 7688: 7555: 7439: 7249: 6942: 6642: 6374: 6187: 5097: 5043: 2407:

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

2247: 1811:

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

1610: 1352: 1144: 992: 728: 710: 699: 551: 532: 514: 303: 51: 31: 7335: 5693: 4889: 785: 7541: 7029: 6797: 6403: 6192: 5462: 5296: 4957: 4877: 4866: 3371: 1795: 463: 91:, Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of 74: 7719: 6116: 2761: 1892: 1783:, critics have found the later orchestral version less persuasive than the sharp-edged piano original. 1669:

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

546: 5785: 2046:

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

1431:

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

1154:. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite 8066: 8061: 7805: 7514: 7325: 7118:

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

5579: 4442: 2671:

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

2395: 2383: 2067: 1994: 1709: 1540: 1530: 1184: 1071: 1022: 822: 7350: 5744: 2093:

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

1066: 7836: 7490: 7072: 6666: 6490: 5559: 4881: 4862: 2290: 1728: 1684: 1247: 1139: 895: 846: 596: 395: 155: 113: 105:

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

62: 7569: 7522: 6773:

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

6433: 1976:(1905) was composed very quickly by Ravel's standards. It is an ethereal piece in the vein of the 1410:

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

952:. In 1913, together with Debussy, Ravel was among the musicians present at the dress rehearsal of 853:

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

826:

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

794: 677: 8020: 7712: 7668: 7604: 7360: 7273: 7254: 7149: 7124: 6954: 6947: 6928: 6856: 6814: 6629: 6604: 6548: 6420: 6386: 6379: 6209: 6157: 6103: 4016: 2721: 2655: 2543: 2055: 1501: 1367: 1218: 1014: 954: 384: 107: 6486: 6086: 3192: 592: 571: 415: 1748:

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

1115:

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

755:; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery. 448:, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate 7290: 7233: 7210: 7191: 7169: 7141: 7104: 7082: 7058: 7041: 7017: 6995: 6971: 6897: 6875: 6831: 6778: 6759: 6738: 6719: 6700: 6678: 6652: 6621: 6584: 6565: 6531: 6500: 6472: 6354: 6335: 6316: 6299: 6275: 6252: 6231: 6175: 6122: 6070: 6051: 6032: 6010: 5991: 5968: 5949: 5929: 5909: 2781: 1956: 1816: 1577: 1565: 1291:

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

1280: 1017:

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

1002: 928:

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

859: 780: 706: 647: 500: 279: 210: 66: 1142:'s abandonment of conventional tonality also had echoes in some of Ravel's music such as the 7908: 7791: 7760: 7265: 7161: 7133: 7096: 6920: 6806: 6613: 6540: 6455: 6412: 6201: 6165: 6149: 6095: 5901: 3119: 2789: 2729: 2510: 2391: 2369:) "If you study with me you'll only write second-rate Ravel instead of first-rate Gershwin." 2294: 2115: 2015: 1688: 1485: 1256: 1103:

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

1035: 987: 974: 906: 718: 631: 588: 541: 510: 407: 399: 369: 346: 342: 338: 237: 7384: 7009: 6792: 6293: 5728: 5700: 5656: 5566: 5427: 5391: 5104: 5050: 4873: 4798: 4653: 4449: 4028: 3699: 3382: 3132: 2900: 2753: 2737: 2713: 2684: 2659: 2599:

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

2485: 2286: 2278: 2179: 1582: 1524: 1260: 1205: 1150: 1108: 806: 743: 723: 492: 488: 311: 187: 87:(1928), in which repetition takes the place of development. Renowned for his abilities in 7153: 1699:, to be sung by a woman, although a tenor voice is a permitted alternative in the score. 1275:

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

864: 827: 6633: 4791: 544:." During the first years of the new century Ravel's new works included the piano piece 321: 7986: 7733: 7576: 7226: 7076: 6985: 6889: 6170: 6135: 6024: 3692: 2923: 2773: 2644: 2379: 2282: 2194: 2084:

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

1820: 1595: 1497: 1446: 1363: 1238: 1191: 1131: 1052: 1048: 910: 814: 524: 374: 283: 269: 222: 55: 2193:

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

8050: 7932: 6989: 6869: 6646: 6398: 6084:

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

5962: 5905: 2837: 2825: 2801: 2489: 2023: 1733: 1477: 1400: 1340: 1328: 1223: 1188: 1134:

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

1104: 1044: 934: 918: 914: 841: 831: 752: 623: 567: 365: 291: 287: 176: 167: 111:(1908), is exceptionally difficult to play, and his complex orchestral works such as 88: 70: 7330: 17: 7956: 7944: 6494: 2895: 2680: 2086: 1450: 1442: 1423: 1227: 922: 810: 603: 218: 191: 8003: 7224:

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

5582:, The Oxford Dictionary of Music, Oxford University Press, retrieved 6 April 2015 2881: 1548:

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

1088:

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

767: 520: 61:

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

39: 7401: 6753: 6246: 1883: 7863: 7394: 2547: 2472: 2366: 2298: 1691:

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

1599: 1489: 1382:

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

1222:

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

1135: 1060: 979: 837: 563: 484: 462:

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

445: 233:

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

134: 6298:. Margaret Crosland (trans). New York and London: Grove Press and John Calder. 1508:

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

7857: 7851: 7137: 6153: 5982:

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

2797: 2745: 2697: 2613:

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

2387: 2347: 2011: 1903: 1824: 1632: 1419: 1386:, in north-west Paris. He was an atheist and there was no religious ceremony. 1374: 1242: 1241:'s ballet company, and having been unable to secure the rights to orchestrate 1056: 997: 929: 584: 540:... I think I have always personally followed a direction opposed to that of 389: 356: 249: 206: 158:, was an educated and successful engineer, inventor and manufacturer, born in 92: 7145: 7045: 7021: 6625: 6617: 6459: 6303: 5953: 5933: 857:, opened at the Théâtre des Arts in January. The reviews were excellent: the 138:

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

6810: 6268: 6221: 6205: 5145: 4885: 4837: 3946: 1998: 1930:

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

1213: 1127: 1117: 873: 449: 7548: 6416: 6126: 5913: 1804: 1362:

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

830:, repeatedly deferred its presentation. He was concerned that its plot – a 268:. This music had a lasting effect on both Ravel and his older contemporary 83: 6179: 7562: 6099: 2560: 2080: 1473: 1411: 1332: 1148:(1926), which Ravel doubted he could have written without the example of 1080: 619: 226: 151: 6860: 6733:

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

6390: 6330:

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

6161: 5111:, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 5057:, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 4456:, Oxford Music Online, Oxford University Press, retrieved 11 March 2015 1021:, composed between 1914 and 1917. The suite celebrates the tradition of 175:

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

7747: 7694: 7646: 7583: 6958: 5597:, Volume I, pp. 60, 183, 159 and 219; and Orenstein (2003), pp. 534–535 3859:

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

2933: 1716: 1509: 1493: 1481: 1469: 1318: 1172: 1167: 1039: 1005:

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

689: 667: 661: 607: 364:"Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by 273: 214: 159: 147: 81:. He liked to experiment with musical form, as in his best-known work, 7951: 7664:

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

7277: 6932: 6818: 6552: 6424: 6368:

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

6213: 6107: 1985:

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

1251:, he decided on "an experiment in a very special and limited direction 867:, London, within weeks of the Paris premiere, and was repeated at the 2871: 2234: 1974:

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

1791: 1465: 1461: 1407: 1406:

Ravel drew on many generations of French composers from Couperin and

1344: 1237:, became his most famous. He was commissioned to provide a score for 611: 459: 307: 241: 6067:

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

5333:

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

2010:

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

202:

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

7269: 6924: 6544: 6351:

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

2058:. He accepted foreign awards, including honorary membership of the 1130:. Jazz was popular in Parisian cafés, and French composers such as 8037: 3469:

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

3451:

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

2676: 2672: 2412: 2365:

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

1721: 1523: 1513: 1505: 1415: 1373: 1259:, and has been recorded several hundred times. Ravel commented to 1065: 973: 962:

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

868: 836: 766: 705: 615: 583: 519: 471: 394: 320: 230: 154:, 18 kilometres (11 mi) from the Spanish border. His father, 133: 38: 7209:(second ed.). Berkeley, US: University of California Press. 5232:

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

2488:. By 1924 Satie had repudiated Poulenc and another former friend 7431: 7421: 7377: 2506: 2452:

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

1794:

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

1572:; he made sketches for it in 1898–99, but did not progress far. 1123: 314:

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

78: 7435: 2563:

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

2323:

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

1327:(1933), but he was unable to meet the production schedule, and 1445:, eschewing the familiar major or minor scales. Chords of the 944:

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

382:(for four hands), the latter eventually incorporated into the 345:, he "was only teachable on his own terms". His later teacher 245: 7962: 4084:

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

3490:

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

1321:. Before the accident he had begun work on music for a film, 1959:, and the piano versions never sound quite the same again." 1865: 1422:, often using traditional structures and forms, such as the 1335:

and orchestra intended for the film; they were published as

986:

When Germany invaded France in 1914 Ravel tried to join the

5762:"David Diamond Papers, Music Division, Library of Congress" 2359:

This remark was modified by Hollywood writers for the film

2151: 2130: 2121: 925:

obliged him to rest for several months after the premiere.

641:

Among those taking a close interest in the controversy was

7427:

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

7426: 7390: 7055:

Entrancing Muse: A Documented Biography of Francis Poulenc

5839:"Ohana, Maurice: 12 Etudes d'interpretation Vol.1 (piano)" 4600: 4598: 3172:

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

2233:

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

1719:

in the relationships of one orchestral group to another."

1594:. The third unrealised project was an operatic version of 1339:. The manuscript orchestral score is in Ravel's hand, but 388:. At around this time, Joseph Ravel introduced his son to 5864:"Doppelbauer, Josef Friedrich - Toccata und Fuge - organ" 2142: 1331:

wrote most of the score. Ravel completed three songs for

435:

In May 1897 Ravel conducted the first performance of the

6911:

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

4637:

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

3014: 3012: 2259:

Ravel produced an orchestral version eleven years later.

2026:, and by the early 1920s there were discs featuring the 354:, for piano, and "Ballade de la Reine morte d'aimer", a 6224:(2000). "Ravel and the piano". In Deborah Mawer (ed.). 6136:"Maurice Ravel's Illness: A Tragedy of Lost Creativity" 1263:, one of Les Six, "I've written only one masterpiece – 566:. Ravel, together with his close friend and confidante 4285:

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

3908:, 27 April 1909, p. 8; and Nichols (2011), pp. 108–109 3740: 3738: 3623:, Oxford University Press, retrieved 27 February 2015 2595:, examining Ravel's clinical history and arguing that 1683:. Among the poets on whose lyrics he drew were Marot, 179:

that was a major attraction until a fatal accident at

7892: 4329: 4327: 2834:

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

2163: 2078:

paid for performing Ravel's music, the news magazine

6795:(October 1967). "Maurice Ravel's Creative Process". 5659:, Royal Philharmonic Society, retrieved 7 April 2015 4229:

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

2820:(also has been arranged for harp by Mario Falcao), 2154: 2148: 2139: 2133: 2127: 2118: 905:

was commissioned in or about 1909 by the impresario

820:

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

205:

When he was seven, Ravel started piano lessons with

7829: 7776: 7704: 7656: 7628: 7533: 7482: 7081:(2nd ed.). New York and London: W. W. Norton. 6758:. New Haven, US and London: Yale University Press. 5469:, Oxford University Press, retrieved 31 March 2015 5303:, Oxford University Press, retrieved 16 March 2015 4964:, Oxford University Press, retrieved 13 March 2015 4896:, Oxford University Press, retrieved 13 March 2015 4399:

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

3753:

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

2145: 2124: 1457:, are characteristic of Ravel's harmonic language. 1279:first. It was commissioned by the Austrian pianist 1233:The last composition Ravel completed in the 1920s, 1187:, 50 kilometres (31 mi) west of Paris, in the 1055:and by Vaughan Williams and his English colleagues 913:. Ravel began work with Diaghilev's choreographer, 8167:Honorary members of the Royal Philharmonic Society 7225: 6267: 4540:, Ville Montfort-l'Amaury, retrieved 11 March 2015 3314:Nichols (2011), p. 35; and Orenstein (1991), p. 26 6845:Orenstein, Arbie (Winter 1995). "Maurice Ravel". 1460:Dance forms appealed to Ravel, most famously the 1418:and Chopin. He considered himself in many ways a 1138:, and its influence is heard in his later music. 162:near the Franco-Swiss border. His mother, Marie, 6994:. Berkeley, US: University of California Press. 1786:In some of his scores from the 1920s, including 1371:coma. He died on 28 December, at the age of 62. 117:(1912) require skilful balance in performance. 6598:Morrison, Simon (Summer 2004). "The Origins of 6438:: The Realisation of an Inherited Aesthetic in 5038: 5036: 4792:"A Disease That Allowed Torrents of Creativity" 4039:Morrison, pp. 63–64; and Nichols (2011), p. 141 1429: 1298: 1197: 801:and the original piano duet version of Ravel's 360:setting a poem by Roland de Marès (both 1893). 286:along with other pupils of Decombes, including 260:in Paris in 1889, Ravel was much struck by the 213:; five years later, in 1887, he began studying 3564: 3562: 1528:Sketches of the cast for the 1911 premiere of 1100:were successfully revived at the Paris Opéra. 221:and composition with Charles-René, a pupil of 7447: 6401:(October 1939). "Maurice Ravel (1875–1937)". 6050:. Princeton, US: Princeton University Press. 6009:. Aldershot, UK and Burlington, US: Ashgate. 1074:, where Ravel lived from 1921 until his death 8: 7232:. Urbana, US: University of Illinois Press. 7016:(in French). Paris and Geneva: La Palatine. 6529:(April 1975). "Ravel and the Prix de Rome". 6499:(in French). Paris: Bibliothèque nationale. 5354:Sackville-West and Shawe-Taylor, pp. 613–614 3895:Whitesell, p. 78; and Nichols (2011), p. 350 2066:in 1926, and an honorary doctorate from the 30:"Ravel" redirects here. For other uses, see 8077:20th-century French male classical pianists 7228:Queer Episodes in Music and Modern Identity 6641:Murray, David (1997) . "Maurice Ravel". In 5680:, Montfort l’Amaury, retrieved 7 April 2022 2842:Toccata and Fugue in memoriam Maurice Ravel 1277:Piano Concerto in D major for the Left Hand 333:In 1891 Ravel progressed to the classes of 7454: 7440: 7432: 5688: 5686: 4849: 4847: 3585: 3583: 2929:Longman Dictionary of Contemporary English 2336:, which he wrote for the 1901 competition. 1844:". Ravel's earliest major work for piano, 1590:which he incorporated into the opening of 272:, as did the exotic sound of the Javanese 7355:International Music Score Library Project 7188:R.V.W. – A Life of Ralph Vaughan Williams 6896:. Cambridge: Cambridge University Press. 6777:. Cambridge: Cambridge University Press. 6737:. Cambridge: Cambridge University Press. 6677:. Cambridge: Cambridge University Press. 6334:. Cambridge: Cambridge University Press. 6230:. Cambridge: Cambridge University Press. 6169: 5990:. Cambridge: Cambridge University Press. 5749:International Music Score Library Project 5379: 5377: 4750: 4748: 4746: 4351:Orenstein (1967), p. 479; and Zank, p. 11 3688: 3686: 3556:Orenstein (1991), p. 33; and James, p. 20 3115: 3113: 2610:Grove's Dictionary of Music and Musicians 2268:Ravel was 160 centimetres (5ft 3in) tall. 2034:, and movements from the String Quartet, 1267:. Unfortunately there's no music in it." 1092:followed in December. The following year 503:conducted the premiere of Debussy's opera 8147:French military personnel of World War I 6583:. Lanham, US: Rowman & Littlefield. 5546: 5544: 5341: 5339: 4612: 4610: 4420: 4418: 4416: 4414: 4272: 4270: 4268: 4258: 4256: 3111: 3109: 3107: 3105: 3103: 3101: 3099: 3097: 3095: 3093: 2378:Ravel's other students were principally 7975: 7899: 7402:Newspaper clippings about Maurice Ravel 5529:Sackville-West and Shawe-Taylor, p. 612 5516: 5514: 5345:Sackville-West and Shawe-Taylor, p. 613 5277:Sackville-West and Shawe-Taylor, p. 610 5250:Sackville-West and Shawe-Taylor, p. 611 4550: 4548: 4546: 4246: 4244: 4012:"New York Symphony in New Aeolian Hall" 3732:Sackville-West and Shawe-Taylor, p. 607 3477: 3475: 3438: 3436: 2858: 2700:'s four-hands arrangement for piano of 2106: 1955:in the classic recordings conducted by 1652:. The same technique is highlighted in 7207:Stravinsky: The Composer and his Works 5415: 5413: 3525: 3523: 3358: 3356: 3223: 3221: 3219: 3188: 3186: 3184: 3182: 3180: 3178: 2758:Piano Concerto for the Left Hand No. 2 2215:"Ballad of the queen who died of love" 1901: 1775:(originally for violin and piano) and 1621:The second opera, also in one act, is 8122:Neurological disease deaths in France 7636:Piano Concerto in D for the Left Hand 7168:. New York: Oxford University Press. 7103:. New York: Oxford University Press. 5967:. Pompton Plains, US: Amadeus Press. 4482:Orenstein (1991), pp. 84, 186 and 197 4390:Schonberg, p. 468; and Larner, p. 188 3830:Griffiths, Paul, and Anthony Burton. 3728: 3726: 3653:Hill, p. 134; and Duchen, pp. 149–150 3244: 3242: 3065: 3063: 2178: 1815:. Orchestral versions of the last by 1752:, or as a reworking of piano pieces, 1396:List of compositions by Maurice Ravel 306:. In November 1889, playing music by 244:, Russian music, and the writings of 7: 8202:People with traumatic brain injuries 8112:Burials at Levallois-Perret Cemetery 7166:Music in the Early Twentieth Century 6513:from the original on 11 October 2015 5786:"American Harp Society Tape Library" 5580:"Gramophone (Phonograph) Recordings" 4926:Nichols (2011), pp. 291, 314 and 319 2814:Waltz "In Memoriam of Maurice Ravel" 1840:to the transcendental virtuosity of 877:praised "the enchantment of the work 276:, also heard during the Exposition. 236:In 1888 Ravel met the young pianist 8177:Jazz-influenced classical composers 6671:Gabriel Fauré – A Musical Life 6432:Lanford, Michael (September 2011). 6069:. Oxford: Oxford University Press. 5385:"All the best: Ravel's piano music" 4656:, WorldCat, retrieved 21 April 2015 3693:"Hidden clue to composer's passion" 2940:from the original on 7 October 2019 2658:takes a few liberties, so too does 2643:the critic Andrew Clements wrote, " 1919:... and the two outer movements of 318:... from adolescence to maturity". 8087:19th-century French male musicians 7287:Maurice Ravel: A Guide to Research 7057:. Hillsdale, US: Pendragon Press. 6991:George Gershwin: His Life and Work 6968:Gabriel Fauré: A Guide to Research 6699:. Master Musicians. London: Dent. 5812:Sinfonia in memoriam Maurice Ravel 5810:"Donemus Webshop – Largo from the 4538:"La maison-musée de Maurice Ravel" 3832:"Tailleferre, Germaine (Marcelle)" 3644:Macdonald, p. 332; and Kelly, p. 8 2822:Sinfonia in memoriam Maurice Ravel 2696:Works dedicated to Ravel include: 2639:In a 2001 survey of recordings of 2589:. This followed a 2002 article in 1951:and the complete ballet music for 1605:Ravel's first completed opera was 54:along with his elder contemporary 25: 6353:. Woodbridge, UK: Boydell Press. 6190:(January 1927). "Maurice Ravel". 6118:Bolero: The Life of Maurice Ravel 5926:Debussy and Ravel String Quartets 5109:The New Grove Dictionary of Opera 5055:The New Grove Dictionary of Opera 4985:Orenstein (1991), pp. 190 and 193 4876:"; Ratner, Sabina Teller, et al. 3904:"Société des Concerts Français", 2592:The European Journal of Neurology 2277:Other members were the composers 1671:Cinq mélodies populaires grecques 883:Adélaïde ou le langage des fleurs 805:. The performers included Fauré, 665:(1906, from the 1905 piano suite 606:, past winners of which included 531:Debussy was widely held to be an 495:as well as their French friends. 8092:20th-century classical composers 8072:19th-century classical composers 8029: 8012: 7995: 7978: 7950: 7938: 7926: 7914: 7902: 7877: 7876: 7078:The Lives of the Great Composers 6775:The Cambridge Companion to Ravel 6735:The Cambridge Companion to Ravel 6332:The Cambridge Companion to Ravel 6313:Gabriel Fauré: A Life in Letters 6227:The Cambridge Companion to Ravel 5984:The Cambridge Companion to Ravel 5906:10.1046/j.1468-1331.2002.00351.x 4583:"Music: Ravel in American Debut" 3959:Kilpatrick, pp. 103–104, and 106 3809:, Oxford University Press, 2003 3412:Orenstein (1991), pp. 19 and 104 3129:, Oxford University Press, 2001 2806:Elegy in Memory of Maurice Ravel 2804:Works commemorating him include 2114: 1902:Problems playing this file? See 1881: 190:; Marie was also something of a 8157:French people of Basque descent 8097:20th-century conductors (music) 7755:Pavane pour une infante défunte 7591:Pavane pour une infante défunte 7190:. Oxford and New York: Oxford. 5668:Orenstein (1991), pp. 92 and 99 3838:, Oxford University Press, 2011 3403:Nichols (1987), pp. 118 and 184 2028:Pavane pour une infante défunte 1979:Pavane pour une infante défunte 1877:Pavane pour une infante défunte 1766:Valses nobles et sentimentales, 1347:, and have variously suggested 657:Pavane pour une infante défunte 455:Pavane pour une infante défunte 430:a single movement violin sonata 402:, Ravel's teacher and supporter 329:in 1895, with Ravel on the left 8162:French people of Swiss descent 7767:Valses nobles et sentimentales 7619:Valses nobles et sentimentales 5716:Inchauspé, Irene. (In French) 5678:"Maurice Ravel’s museum house" 5098:"Enfant et les sortilèges, L'" 3213:Nichols (2011), pp. 11 and 390 2901:Merriam-Webster.com Dictionary 1455:Valses nobles et sentimentales 887:Valses nobles et sentimentales 703:(1914–17, orchestrated 1919). 684:Valses nobles et sentimentales 681:(1908–10, orchestrated 1911), 554:and the orchestral song cycle 1: 8102:20th-century French composers 8082:19th-century French composers 6134:Henson, R. A. (4 June 1988). 5988:Cambridge Companions to Music 5894:European Journal of Neurology 5650:"Honorary Members since 1826" 5631:Orenstein (2003), pp. 534–537 5297:"Musorgsky, Modest Petrovich" 5268:Orenstein (1991), pp. 204–205 4728:Orenstein (2003), pp. 535–536 4454:The Oxford Companion to Music 4262:Orenstein (2003), pp. 230–231 3836:The Oxford Companion to Music 3617:"Winners of the Prix de Rome" 3385:, BBC, retrieved 4 March 2014 3266:Nichols (1987), pp. 73 and 91 2830:Douze etudes d'interprétation 2097:Notes, references and sources 938:, and his own works were the 8207:Prix de Rome for composition 7837:Pierre-Joseph Ravel (father) 7365:Choral Public Domain Library 7361:Free scores by Maurice Ravel 7351:Free scores by Maurice Ravel 7336:Resources in other libraries 7205:White, Eric Walter (1984) . 6581:Twilight of the Belle Epoque 6564:(in French). Paris: Fayard. 5745:Free scores by Maurice Ravel 5550:Orenstein (2003) pp. 532–533 4536:Nichols (1987), p. 134; and 3133:UK public library membership 1852:consider that works such as 1631:, and the jazz elements and 777:Société Nationale de Musique 8187:French male opera composers 7674:Sonata for Violin and Cello 7406:20th Century Press Archives 6966:Phillips, Edward R (2011). 6718:. London: Faber and Faber. 5640:Nichols (2011), pp. 206–207 5421:"Ravel: Gaspard de la Nuit" 5030:Nichols (1987), pp. 171–172 4938:in Orenstein (1991), p. 131 4619:in Orenstein (2003), p. 477 4342:Orenstein (1991), pp. 82–83 4202:Fulcher (2001), pp. 207–208 3376:"Maurice Ravel – Biography" 3036:Orenstein (1995), pp. 91–92 2846:Josef Friedrich Doppelbauer 1987:Sonata for Violin and Cello 1969:Sonata for Violin and Piano 737:Complexe mais pas compliqué 713:, one of Ravel's few pupils 687:(1911, orchestrated 1912), 671:), the Habanera section of 420:Michel-Dimitri Calvocoressi 229:, variations on a theme by 27:French composer (1875–1937) 8223: 8142:French classical composers 7499:L'enfant et les sortilèges 6868:Orenstein, Arbie (2003) . 6826:Orenstein, Arbie (1991) . 6349:Kelly, Barbara L. (2013). 6315:. London: B. T. Batsford. 6251:. New York: Welcome Rain. 6007:French Music since Berlioz 5148:, performances since 2010. 4363:in Orenstein (2003), p. 32 3296:in Orenstein (1991), p. 33 3275:Jankélévitch, pp. 8 and 20 2532:"The Child and the Spells" 2060:Royal Philharmonic Society 1967:Apart from a one-movement 1932:Menuet sur le nom de Haydn 1624:L'enfant et les sortilèges 1393: 1163:L'enfant et les sortilèges 186:Both Ravel's parents were 181:Barnum and Bailey's Circus 173:internal combustion engine 29: 8182:Legion of Honour refusals 7872: 7741:Menuet sur le nom d'Haydn 7598:Pictures at an Exhibition 7469: 7383:22 September 2017 at the 7378:Maurice Ravel Frontispice 7331:Resources in your library 7154:10.1525/ncm.2001.24.3.225 7138:10.1525/ncm.2001.24.3.225 7012:; Stéphane Audel (1963). 6651:. London: Penguin Books. 6496:Maurice Ravel: Exposition 6311:Jones, J. Barrie (1989). 6274:. London: Omnibus Press. 6154:10.1136/bmj.296.6636.1585 6065:Fulcher, Jane F. (2005). 4740:in Nichols (1987), p. 173 4710:Nichols and Mawer, p. 266 4701:Nichols and Mawer, p. 256 4652:26 September 2017 at the 4628:Nichols (1987), pp. 47–48 4589:, 16 January 1928, p. 25 4527:Lesure and Nectoux, p. 45 4473:in Nichols (1987), p. 117 4424:Lesure and Nectoux, p. 10 4303:Poulenc and Audel, p. 175 4184:in Nichols (1987), p. 113 4066:Nichols (1987), pp. 41–43 3877:Nichols (1987), pp. 35–36 3711:Nichols (2011), pp. 66–67 3607:Nichols (2011), pp. 58–59 3430:Nichols (1987), pp. 10–14 3305:Nichols (1977), pp. 14–15 3123:"Ravel, (Joseph) Maurice" 2246:This critic was "Willy", 2180:[ʒozɛfmɔʁisʁavɛl] 1813:Pictures at an Exhibition 1464:and pavane, but also the 1436:Ravel to Vaughan Williams 1384:Levallois-Perret cemetery 1357:Creutzfeldt–Jakob disease 1288:Piano Concerto in G major 1157:Pictures at an Exhibition 885:, danced to the score of 697:, orchestrated 1918) and 335:Charles-Wilfrid de Bériot 98:Pictures at an Exhibition 77:and, in his later works, 8107:Ballets Russes composers 7813:Trois poèmes de Mallarmé 7799:Don Quichotte à Dulcinée 7184:Vaughan Williams, Ursula 7053:Schmidt, Carl B (2001). 6634:10.1525/ncm.2004.28.1.50 6618:10.1525/ncm.2004.28.1.50 6579:McAuliffe, Mary (2014). 6115:Goss, Madeleine (1940). 5941:Anderson, Keith (1994). 5921:Anderson, Keith (1989). 5622:Orenstein (2003), p. 536 5452:Orenstein (1991), p. 181 5324:Orenstein (1991), p. 193 5157:Orenstein (1991), p. 157 4994:Orenstein (1991), p. 192 4976:Orenstein (1991), p. 132 4947:Orenstein (1991), p. 131 4917:Orenstein (1991), p. 135 4763:Orenstein (1991), p. 105 4604:Orenstein (1991), p. 104 4211:Orenstein (2003), p. 169 3803:"Vauchant(-Arnaud), Léo" 3792:Orenstein (1991), p. 112 3765:in Nichols (1987), p. 67 3547:Orenstein (1991), p. 127 3538:Orenstein (2003), p. 421 3442:Orenstein (1991), p. 111 3381:11 February 2018 at the 3145:Orenstein (1967), p. 475 2726:4 Hommages pour le piano 2706:Balthazar de Beaujoyeulx 2409:steak and kidney pudding 1940:À la manière de Chabrier 1936:À la manière de Borodine 1676:Deux mélodies hébraïques 1655:Trois poèmes de Mallarmé 1337:Don Quichotte à Dulcinée 950:À la manière de Chabrier 946:À la manière de Borodine 941:Trois poèmes de Mallarmé 871:later in the same year. 789:, Debussy's piano suite 8172:Impressionist composers 8132:French ballet composers 7289:. New York: Routledge. 6894:Debussy and the Theatre 6828:Ravel: Man and Musician 6752:Nichols, Roger (2011). 6714:Nichols, Roger (1987). 6648:The Penguin Opera Guide 6467:Larner, Gerald (1996). 6447:The Cambridge Quarterly 6266:James, Burnett (1987). 6245:Ivry, Benjamin (2000). 6188:Hill, Edward Burlingame 6141:British Medical Journal 5961:Canarina, John (2003). 5584:(subscription required) 5578:Kennedy, Michael (ed). 5520:Orenstein (2003), p. 32 5508:Orenstein (1991), p. 88 5471:(subscription required) 5305:(subscription required) 5166:Jankélévitch, pp. 29–32 5113:(subscription required) 5059:(subscription required) 4966:(subscription required) 4898:(subscription required) 4797:22 January 2017 at the 4692:Orenstein (1991), p 101 4591:(subscription required) 4572:Orenstein (1991), p. 95 4554:Orenstein (2003), p. 10 4458:(subscription required) 4433:Orenstein (1991), p. 84 4381:Orenstein (1991), p. 78 4172:Orenstein (1995), p. 93 4145:Canarina, pp. 42 and 47 4022:(subscription required) 3977:Orenstein (1991), p. 65 3850:Vaughan Williams, p. 79 3840:(subscription required) 3821:Orenstein (1991), p. 93 3811:(subscription required) 3625:(subscription required) 3460:Orenstein (1991), p. 28 3341:Orenstein (1991), p. 24 3236:Orenstein (1991), p. 14 3227:Orenstein (1995), p. 92 3204:Orenstein (1991), p. 11 3163:Orenstein (1991), p. 16 3045:Orenstein (1991), p. 10 2979:in Nichols (2011), p. 3 2878:Oxford University Press 2800:, and a String Trio by 2471:that he had joined the 1777:Le tombeau de Couperin. 1453:, such as those in the 1349:frontotemporal dementia 1313:British Medical Journal 1293:Pedro de Freitas Branco 791:D'un cahier d'esquisses 763:1910 to First World War 749:Hélène Jourdan-Morhange 479:Les Apaches and Debussy 372:, and the piano pieces 266:Nikolai Rimsky-Korsakov 8192:Neoclassical composers 8152:French opera composers 7847:Impressionism in music 7842:Close and open harmony 7727:Le Tombeau de Couperin 7556:Le Tombeau de Couperin 7285:Zank, Stephen (2005). 7101:The Compleat Conductor 7030:Sackville-West, Edward 6953:(in French): 311–347. 6874:. Mineola, US: Dover. 6830:. Mineola, US: Dover. 6460:10.1093/camqtly/bfr022 6290:Jankélévitch, Vladimir 5964:Pierre Monteux, Maître 5699:3 January 2017 at the 5407:Nichols (2011), p. 102 5315:Nichols (2011), p. 248 5286:Nichols (2011), p. 302 5184:Nichols (2011), p. 280 5069:Nichols (2011), p. 129 4956:Taruskin, p. 112; and 4878:"Saint-Saëns, Camille" 4772:Nichols (2011), p. 330 4665:Nichols (2011), p. 301 4500:Nichols (2011), p. 289 4408:Nichols (2011), p. 210 4372:Nichols (1987), p. 118 4276:Fulcher (2005), p. 139 4220:Fulcher (2001), p. 208 4163:Nichols (2011), p. 179 4136:Nichols (2011), p. 157 4127:Nichols (1987), p. 113 4002:, 28 August 1912, p. 7 3998:"Promenade Concerts", 3917:Nichols (2011), p. 109 3671:Woldu, pp. 247 and 249 3598:Nichols (1987), p. 102 3481:Nichols (1987), p. 101 3372:Langham Smith, Richard 3323:Nichols (1987), p. 178 3284:Nichols (1987), p. 183 3018:Orenstein (1991), p. 8 3006:Orenstein (1991), p. 9 2967:Nichols (2011), p. 390 2248:Henri Gauthier-Villars 2036:Le tombeau de Couperin 1949:Le tombeau de Couperin 1944:Le tombeau de Couperin 1870: 1758:Une barque sur l'ocean 1737: 1611:Edward Burlingame Hill 1545: 1536:Paul-Charles Delaroche 1512:, Chabrier, Fauré and 1433: 1379: 1302: 1202: 1086:Le tombeau de Couperin 1075: 1019:Le tombeau de Couperin 983: 889:, which opened at the 850: 772: 729:Ralph Vaughan Williams 714: 711:Ralph Vaughan Williams 700:Le tombeau de Couperin 662:Une barque sur l'océan 645:, owner and editor of 599: 528: 403: 330: 304:Conservatoire de Paris 258:Exposition Universelle 142:Ravel was born in the 139: 44: 32:Ravel (disambiguation) 7967:at Knowledge (XXG)'s 7669:Piano Trio in A minor 7542:Alborada del gracioso 7120:L'Invasion germanique 6970:. London: Routledge. 6811:10.1093/mq/liii.4.467 6798:The Musical Quarterly 6404:The Musical Quarterly 6248:Maurice Ravel: A Life 6206:10.1093/mq/xiii.1.130 6193:The Musical Quarterly 6048:Debussy and his World 5655:14 April 2015 at the 5565:16 April 2015 at the 5490:Anderson (1994), p. 5 5481:Anderson (1989), p. 4 5426:17 March 2017 at the 5193:Nichols (2011), p. 55 5103:16 March 2021 at the 5049:16 March 2021 at the 5044:"Heure espagnole, L'" 5021:Zank, pp. 105 and 367 5012:Lanford, pp. 248–249. 4814:Amaducci et al, p. 75 4781:Henson, pp. 1586–1588 4683:Nichols (1987), p. 92 4448:16 March 2021 at the 4088:, 10 June 1914, p. 11 3950:, 20 April 1910, p. 6 3944:"Courrier Musicale", 3868:Nichols (1987), p. 35 3744:Nichols (1987), p. 32 3698:30 March 2009 at the 3662:Nichols (1977), p. 32 3577:Nichols (2011), p. 52 3362:Nichols (2011), p. 30 3350:Nichols (1977), p. 12 3332:Nichols (1977), p. 15 3257:Nichols (2011), p. 14 2874:UK English Dictionary 2768:by Arthur Honegger, 2062:in 1921, the Belgian 1914:Alborada del gracioso 1869: 1796:Edward Sackville-West 1781:Alborada del gracioso 1754:Alborada del gracioso 1726:Original setting for 1725: 1588:"Symphonie horlogère" 1527: 1377: 1069: 977: 909:for his company, the 840: 799:Six pièces pour piano 770: 709: 690:Alborada del gracioso 659:(orchestrated 1910), 587: 523: 464:Princesse de Polignac 398: 324: 137: 42: 8137:French-Basque people 7806:Histoires naturelles 7507:L'éventail de Jeanne 7474:List of compositions 7250:Revue de musicologie 7073:Schonberg, Harold C. 7034:Desmond Shawe-Taylor 6943:Revue de musicologie 6848:The American Scholar 6667:Nectoux, Jean-Michel 6417:10.1093/mq/xxv.4.430 6375:Revue de musicologie 5727:2 April 2015 at the 5390:2 April 2015 at the 5259:Goddard, pp. 298–301 5241:Goddard, pp. 293–294 5175:Jankélévitch, p. 177 5003:Lanford, pp. 245–246 4834:"Ravel and religion" 4154:Jankélévitch, p. 179 4027:5 March 2016 at the 3702:, BBC, 27 March 2009 3499:McAuliffe, pp. 57–58 3069:Nichols (2011), p. 9 2988:Nichols (2011), p. 6 2958:Nichols (2011), p. 1 2884:on 26 February 2021. 2622:In 2009 the pianist 2396:Germaine Tailleferre 2384:Alexis Roland-Manuel 2068:University of Oxford 1800:Desmond Shawe-Taylor 1710:Alexis Roland-Manuel 1650:Histoires naturelles 1598:'s 1925 novel about 1111:. Stravinsky, whose 996:, his only work for 964:Pelléas et Mélisande 932:'s unfinished opera 506:Pelléas et Mélisande 48:Joseph Maurice Ravel 18:Joseph-Maurice Ravel 8197:People from Labourd 8117:Composers for piano 7785:Chansons madécasses 7689:String Quartet in F 7684:Violin Sonata No. 2 7679:Violin Sonata No. 1 7641:Piano Concerto in G 7391:"Discovering Ravel" 7040:. London: Collins. 6491:Jean-Michel Nectoux 6471:. London: Phaidon. 6148:(6636): 1585–1588. 6087:Music & Letters 6031:. London: Phaidon. 5818:webshop.donemus.com 5396:The Financial Times 5371:, 30 September 2011 4872:30 May 2020 at the 4863:Nectoux Jean-Michel 4853:Marnat, pp. 721–784 4790:Blakeslee, Sandra. 4518:Kelly (2000), p. 24 4333:Kelly (2000), p. 25 4321:Kelly (2013), p. 57 4294:Kelly (2013), p. 56 4048:Morrison, pp. 57–58 3529:Kelly (2000), p. 16 2394:, and the composer 2303:Michel Calvocoressi 1664:Chansons madécasses 1574:La cloche engloutie 1564:was to be based on 1554:La cloche engloutie 1353:Alzheimer's disease 1145:Chansons madécasses 597:Paris Conservatoire 578:Scandal and success 570:and the opera star 515:Camille Saint-Saëns 298:Paris Conservatoire 156:Pierre-Joseph Ravel 101:is the best known. 63:Paris Conservatoire 7713:Gaspard de la nuit 7605:Rapsodie espagnole 7125:19th-Century Music 6605:19th-Century Music 6121:. New York: Holt. 6100:10.1093/ml/6.4.291 5946:French Piano Trios 5718:"A qui profite le 5613:, Volume 10, p. xv 5467:Grove Music Online 5419:Clements, Andrew. 5301:Grove Music Online 5295:Oldani, Robert W. 5223:in Goddard, p. 292 4962:Grove Music Online 4894:Grove Music Online 4840:on 5 January 2015. 4803:The New York Times 4587:The New York Times 4100:in Morrison, p. 54 4020:, 9 November 1912 4017:The New York Times 3968:Kilpatrick, p. 132 3807:Grove Music Online 3621:Grove Music Online 3248:Kelly (2000), p. 7 3127:Grove Music Online 2722:Gustave Samazeuilh 2718:Esquisse d'Espagne 2641:Gaspard de la nuit 2583:The New York Times 2544:The New York Times 2523:"Madagascan Songs" 2433:"The Spanish Hour" 2056:Institut de France 2050:Honours and legacy 1925:Gaspard de la nuit 1921:Gaspard de la nuit 1871: 1854:Gaspard de la Nuit 1842:Gaspard de la nuit 1742:Rapsodie espagnole 1738: 1546: 1447:ninth and eleventh 1380: 1219:Serge Koussevitzky 1178:Violin Sonata No.2 1160:(1922), the opera 1076: 984: 955:The Rite of Spring 851: 773: 715: 673:Rapsodie espagnole 600: 529: 404: 385:Rapsodie espagnole 352:Sérénade grotesque 331: 140: 108:Gaspard de la nuit 45: 7890: 7889: 7515:L'heure espagnole 7312:Library resources 7296:978-0-8153-1618-3 7239:978-0-252-02740-6 7216:978-0-520-03985-8 7197:978-0-19-315411-7 7175:978-0-19-538484-0 7162:Taruskin, Richard 7110:978-0-19-506377-6 7097:Schuller, Gunther 7088:978-0-393-01302-3 7064:978-1-57647-026-8 7001:978-0-520-24864-9 6977:978-0-415-99885-7 6919:(1672): 403–407. 6913:The Musical Times 6903:978-0-521-22807-7 6881:978-0-486-43078-2 6837:978-0-486-26633-6 6784:978-0-521-64856-1 6765:978-0-300-10882-8 6744:978-0-521-64856-1 6725:978-0-571-14986-5 6706:978-0-460-03146-2 6684:978-0-521-23524-2 6658:978-0-14-051385-1 6590:978-1-4422-2163-5 6571:978-2-213-01685-6 6539:(1586): 332–333. 6532:The Musical Times 6506:978-2-7177-1234-6 6478:978-0-7148-3270-8 6370:L'Heure espagnole 6360:978-1-84383-810-4 6341:978-0-521-64856-1 6322:978-0-7134-5468-0 6281:978-0-7119-0987-8 6258:978-1-56649-152-5 6237:978-0-521-64856-1 6076:978-0-19-534296-3 6057:978-0-691-09041-2 6038:978-0-7148-3932-5 6016:978-0-7546-0282-8 5997:978-0-521-64856-1 5974:978-1-57467-082-0 5948:. Munich: Naxos. 5944:Notes to Naxos CD 5928:. Munich: Naxos. 5924:Notes to Naxos CD 5461:Griffiths, Paul. 5443:Schuller, pp. 7–8 5434:, 26 October 2001 5398:, 16 January 2013 5363:Osborne, Steven. 4890:"Debussy, Claude" 4469:Francis Poulenc, 3801:Laplace, Michel. 3635:Macdonald, p. 332 3394:Larner, pp. 59–60 3195:and Nectoux, p. 9 3131:(subscription or 2904:. Merriam-Webster 2782:Alexandre Tansman 2762:Utsyo Chakraborty 2742:3 Japanese Lyrics 1886: 1817:Mikhail Tushmalov 1681:Chants populaires 1643:Other vocal works 1629:L'heure espagnole 1607:L'heure espagnole 1592:L'heure espagnole 1531:L'heure espagnole 1281:Paul Wittgenstein 1185:Montfort-l'Amaury 1166:to a libretto by 1098:L'heure espagnole 1072:Montfort-l'Amaury 1023:François Couperin 1003:amoebic dysentery 860:Mercure de France 823:L'heure espagnole 337:, for piano, and 327:Charles de Bériot 262:new Russian works 211:Emmanuel Chabrier 16:(Redirected from 8214: 8042: 8034: 8033: 8032: 8025: 8017: 8016: 8015: 8008: 8000: 7999: 7998: 7991: 7983: 7982: 7981: 7971: 7955: 7954: 7943: 7942: 7941: 7931: 7930: 7929: 7919: 7918: 7917: 7907: 7906: 7905: 7898: 7880: 7879: 7792:Two Hebrew Songs 7491:Daphnis et Chloé 7456: 7449: 7442: 7433: 7398: 7300: 7281: 7258: 7243: 7231: 7220: 7201: 7179: 7157: 7114: 7092: 7068: 7049: 7038:The Record Guide 7025: 7010:Poulenc, Francis 7005: 6981: 6962: 6951: 6936: 6907: 6885: 6864: 6841: 6822: 6793:Orenstein, Arbie 6788: 6769: 6748: 6729: 6716:Ravel Remembered 6710: 6688: 6673:. Translated by 6662: 6637: 6600:Daphnis et Chloé 6594: 6575: 6556: 6522: 6520: 6518: 6487:Lesure, François 6482: 6463: 6428: 6394: 6383: 6364: 6345: 6326: 6307: 6285: 6273: 6262: 6241: 6217: 6183: 6173: 6130: 6111: 6080: 6061: 6042: 6020: 6001: 5978: 5957: 5937: 5917: 5879: 5878: 5876: 5874: 5860: 5854: 5853: 5851: 5849: 5835: 5829: 5828: 5826: 5824: 5806: 5800: 5799: 5797: 5795: 5790: 5782: 5776: 5775: 5773: 5771: 5766: 5758: 5752: 5742: 5736: 5714: 5708: 5690: 5681: 5675: 5669: 5666: 5660: 5647: 5641: 5638: 5632: 5629: 5623: 5620: 5614: 5604: 5598: 5592: 5586: 5585: 5576: 5570: 5557: 5551: 5548: 5539: 5536: 5530: 5527: 5521: 5518: 5509: 5506: 5500: 5499:Phillips, p. 163 5497: 5491: 5488: 5482: 5479: 5473: 5472: 5463:"String quartet" 5459: 5453: 5450: 5444: 5441: 5435: 5417: 5408: 5405: 5399: 5381: 5372: 5361: 5355: 5352: 5346: 5343: 5334: 5331: 5325: 5322: 5316: 5313: 5307: 5306: 5293: 5287: 5284: 5278: 5275: 5269: 5266: 5260: 5257: 5251: 5248: 5242: 5239: 5233: 5230: 5224: 5218: 5212: 5209: 5203: 5200: 5194: 5191: 5185: 5182: 5176: 5173: 5167: 5164: 5158: 5155: 5149: 5139: 5133: 5130: 5124: 5121: 5115: 5114: 5096:Nichols, Roger. 5094: 5088: 5085: 5079: 5076: 5070: 5067: 5061: 5060: 5042:Nichols, Roger. 5040: 5031: 5028: 5022: 5019: 5013: 5010: 5004: 5001: 4995: 4992: 4986: 4983: 4977: 4974: 4968: 4967: 4954: 4948: 4945: 4939: 4933: 4927: 4924: 4918: 4915: 4909: 4906: 4900: 4899: 4882:Lesure, François 4860: 4854: 4851: 4842: 4841: 4836:. Archived from 4830: 4824: 4821: 4815: 4812: 4806: 4788: 4782: 4779: 4773: 4770: 4764: 4761: 4755: 4752: 4741: 4735: 4729: 4726: 4720: 4717: 4711: 4708: 4702: 4699: 4693: 4690: 4684: 4681: 4675: 4672: 4666: 4663: 4657: 4644: 4638: 4635: 4629: 4626: 4620: 4614: 4605: 4602: 4593: 4592: 4579: 4573: 4570: 4564: 4561: 4555: 4552: 4541: 4534: 4528: 4525: 4519: 4516: 4510: 4507: 4501: 4498: 4492: 4489: 4483: 4480: 4474: 4467: 4461: 4459: 4440: 4434: 4431: 4425: 4422: 4409: 4406: 4400: 4397: 4391: 4388: 4382: 4379: 4373: 4370: 4364: 4358: 4352: 4349: 4343: 4340: 4334: 4331: 4322: 4319: 4313: 4310: 4304: 4301: 4295: 4292: 4286: 4283: 4277: 4274: 4263: 4260: 4251: 4248: 4239: 4236: 4230: 4227: 4221: 4218: 4212: 4209: 4203: 4200: 4194: 4191: 4185: 4179: 4173: 4170: 4164: 4161: 4155: 4152: 4146: 4143: 4137: 4134: 4128: 4125: 4119: 4116: 4110: 4107: 4101: 4095: 4089: 4082: 4076: 4073: 4067: 4064: 4058: 4055: 4049: 4046: 4040: 4037: 4031: 4023: 4009: 4003: 3996: 3990: 3984: 3978: 3975: 3969: 3966: 3960: 3957: 3951: 3942: 3936: 3933: 3927: 3926:Strasser, p. 251 3924: 3918: 3915: 3909: 3902: 3896: 3893: 3887: 3884: 3878: 3875: 3869: 3866: 3860: 3857: 3851: 3848: 3842: 3841: 3828: 3822: 3819: 3813: 3812: 3799: 3793: 3790: 3784: 3781: 3775: 3772: 3766: 3760: 3754: 3751: 3745: 3742: 3733: 3730: 3721: 3718: 3712: 3709: 3703: 3690: 3681: 3678: 3672: 3669: 3663: 3660: 3654: 3651: 3645: 3642: 3636: 3633: 3627: 3626: 3614: 3608: 3605: 3599: 3596: 3590: 3587: 3578: 3575: 3569: 3568:Landormy, p. 431 3566: 3557: 3554: 3548: 3545: 3539: 3536: 3530: 3527: 3518: 3517:James, pp. 30–31 3515: 3509: 3508:McAuliffe, p. 58 3506: 3500: 3497: 3491: 3488: 3482: 3479: 3470: 3467: 3461: 3458: 3452: 3449: 3443: 3440: 3431: 3428: 3422: 3419: 3413: 3410: 3404: 3401: 3395: 3392: 3386: 3369: 3363: 3360: 3351: 3348: 3342: 3339: 3333: 3330: 3324: 3321: 3315: 3312: 3306: 3303: 3297: 3291: 3285: 3282: 3276: 3273: 3267: 3264: 3258: 3255: 3249: 3246: 3237: 3234: 3228: 3225: 3214: 3211: 3205: 3202: 3196: 3190: 3173: 3170: 3164: 3161: 3155: 3152: 3146: 3143: 3137: 3136: 3120:Kelly, Barbara L 3117: 3088: 3085: 3079: 3076: 3070: 3067: 3058: 3052: 3046: 3043: 3037: 3034: 3028: 3025: 3019: 3016: 3007: 3004: 2998: 2995: 2989: 2986: 2980: 2974: 2968: 2965: 2959: 2956: 2950: 2949: 2947: 2945: 2924:"Ravel, Maurice" 2920: 2914: 2913: 2911: 2909: 2892: 2886: 2885: 2880:. Archived from 2867:"Ravel, Maurice" 2863: 2848: 2790:Robert Casadesus 2770:4 Poemes hindous 2694: 2688: 2669: 2663: 2653: 2649: 2637: 2631: 2620: 2614: 2606: 2600: 2579: 2573: 2570: 2564: 2557: 2551: 2539: 2533: 2530: 2524: 2521: 2515: 2511:Harold Schonberg 2503: 2497: 2495: 2482: 2476: 2468: 2462: 2459: 2453: 2449: 2443: 2440: 2434: 2431: 2425: 2422: 2416: 2405: 2399: 2392:Vlado Perlemuter 2376: 2370: 2362:Rhapsody in Blue 2357: 2351: 2343: 2337: 2330: 2324: 2321: 2315: 2312: 2306: 2295:Tristan Klingsor 2291:Léon-Paul Fargue 2275: 2269: 2266: 2260: 2257: 2251: 2244: 2238: 2231: 2225: 2222: 2216: 2213: 2207: 2204: 2198: 2190: 2184: 2182: 2177: 2171: 2167: 2161: 2160: 2157: 2156: 2153: 2150: 2147: 2144: 2141: 2136: 2135: 2132: 2129: 2126: 2123: 2120: 2111: 2064:Ordre de Léopold 2016:Robert Casadesus 1918: 1888: 1887: 1868: 1850:The Record Guide 1828:unlike his own. 1788:Daphnis et Chloé 1750:Daphnis et Chloé 1729:Daphnis et Chloé 1703:Orchestral works 1689:Leconte de Lisle 1685:Léon-Paul Fargue 1544: 1437: 1306: 1257:Arturo Toscanini 1254: 1208: 1140:Arnold Schönberg 1094:Daphnis et Chloé 1070:Le Belvédère in 1036:Legion of Honour 988:French Air Force 917:, and designer, 907:Sergei Diaghilev 903:Daphnis et Chloé 896:Daphnis et Chloé 880: 847:Daphnis et Chloé 786:La chanson d'Ève 739:was his motto." 734: 719:Manuel Rosenthal 632:Charles Lenepveu 589:Charles Lenepveu 539: 443: 413: 343:Barbara L. Kelly 317: 114:Daphnis et Chloé 21: 8222: 8221: 8217: 8216: 8215: 8213: 8212: 8211: 8127:French atheists 8047: 8046: 8045: 8035: 8030: 8028: 8024:from Wikisource 8018: 8013: 8011: 8001: 7996: 7994: 7984: 7979: 7977: 7974: 7970:sister projects 7969: 7961: 7949: 7939: 7937: 7927: 7925: 7921:Classical music 7915: 7913: 7903: 7901: 7893: 7891: 7886: 7868: 7825: 7772: 7700: 7652: 7624: 7529: 7478: 7465: 7460: 7418: 7389: 7385:Wayback Machine 7374: 7347: 7342: 7341: 7340: 7320: 7319: 7315: 7308: 7303: 7297: 7284: 7252: 7246: 7240: 7223: 7217: 7204: 7198: 7182: 7176: 7160: 7122:in the 1870s". 7117: 7111: 7095: 7089: 7071: 7065: 7052: 7028: 7014:Moi et mes amis 7008: 7002: 6986:Pollack, Howard 6984: 6978: 6965: 6945: 6939: 6910: 6904: 6890:Orledge, Robert 6888: 6882: 6867: 6844: 6838: 6825: 6791: 6785: 6772: 6766: 6751: 6745: 6732: 6726: 6713: 6707: 6691: 6685: 6665: 6659: 6640: 6597: 6591: 6578: 6572: 6559: 6527:Macdonald, Hugh 6525: 6516: 6514: 6507: 6485: 6479: 6466: 6431: 6397: 6377: 6367: 6361: 6348: 6342: 6329: 6323: 6310: 6288: 6282: 6265: 6259: 6244: 6238: 6220: 6186: 6133: 6114: 6083: 6077: 6064: 6058: 6045: 6039: 6025:Duchen, Jessica 6023: 6017: 6004: 5998: 5981: 5975: 5960: 5940: 5920: 5891: 5887: 5882: 5872: 5870: 5862: 5861: 5857: 5847: 5845: 5837: 5836: 5832: 5822: 5820: 5808: 5807: 5803: 5793: 5791: 5788: 5784: 5783: 5779: 5769: 5767: 5764: 5760: 5759: 5755: 5743: 5739: 5729:Wayback Machine 5715: 5711: 5707:, 25 April 2001 5701:Wayback Machine 5691: 5684: 5676: 5672: 5667: 5663: 5657:Wayback Machine 5648: 5644: 5639: 5635: 5630: 5626: 5621: 5617: 5605: 5601: 5593: 5589: 5583: 5577: 5573: 5567:Wayback Machine 5558: 5554: 5549: 5542: 5538:De Voto, p. 113 5537: 5533: 5528: 5524: 5519: 5512: 5507: 5503: 5498: 5494: 5489: 5485: 5480: 5476: 5470: 5460: 5456: 5451: 5447: 5442: 5438: 5428:Wayback Machine 5418: 5411: 5406: 5402: 5392:Wayback Machine 5383:Clark, Andrew. 5382: 5375: 5362: 5358: 5353: 5349: 5344: 5337: 5332: 5328: 5323: 5319: 5314: 5310: 5304: 5294: 5290: 5285: 5281: 5276: 5272: 5267: 5263: 5258: 5254: 5249: 5245: 5240: 5236: 5231: 5227: 5219: 5215: 5210: 5206: 5202:Goddard, p. 291 5201: 5197: 5192: 5188: 5183: 5179: 5174: 5170: 5165: 5161: 5156: 5152: 5142:"Maurice Ravel" 5140: 5136: 5131: 5127: 5122: 5118: 5112: 5105:Wayback Machine 5095: 5091: 5086: 5082: 5077: 5073: 5068: 5064: 5058: 5051:Wayback Machine 5041: 5034: 5029: 5025: 5020: 5016: 5011: 5007: 5002: 4998: 4993: 4989: 4984: 4980: 4975: 4971: 4965: 4955: 4951: 4946: 4942: 4934: 4930: 4925: 4921: 4916: 4912: 4907: 4903: 4897: 4874:Wayback Machine 4867:"Fauré, Gabriel 4861: 4857: 4852: 4845: 4832: 4831: 4827: 4823:Henson, p. 1588 4822: 4818: 4813: 4809: 4799:Wayback Machine 4789: 4785: 4780: 4776: 4771: 4767: 4762: 4758: 4754:Henson, p. 1586 4753: 4744: 4736: 4732: 4727: 4723: 4718: 4714: 4709: 4705: 4700: 4696: 4691: 4687: 4682: 4678: 4673: 4669: 4664: 4660: 4654:Wayback Machine 4645: 4641: 4636: 4632: 4627: 4623: 4615: 4608: 4603: 4596: 4590: 4580: 4576: 4571: 4567: 4562: 4558: 4553: 4544: 4535: 4531: 4526: 4522: 4517: 4513: 4508: 4504: 4499: 4495: 4490: 4486: 4481: 4477: 4468: 4464: 4457: 4450:Wayback Machine 4441: 4437: 4432: 4428: 4423: 4412: 4407: 4403: 4398: 4394: 4389: 4385: 4380: 4376: 4371: 4367: 4359: 4355: 4350: 4346: 4341: 4337: 4332: 4325: 4320: 4316: 4312:Schmidt. p. 136 4311: 4307: 4302: 4298: 4293: 4289: 4284: 4280: 4275: 4266: 4261: 4254: 4249: 4242: 4237: 4233: 4228: 4224: 4219: 4215: 4210: 4206: 4201: 4197: 4192: 4188: 4180: 4176: 4171: 4167: 4162: 4158: 4153: 4149: 4144: 4140: 4135: 4131: 4126: 4122: 4118:Canarina, p. 43 4117: 4113: 4108: 4104: 4096: 4092: 4083: 4079: 4075:Morrison, p. 50 4074: 4070: 4065: 4061: 4057:Morrison, p. 54 4056: 4052: 4047: 4043: 4038: 4034: 4029:Wayback Machine 4021: 4010: 4006: 3997: 3993: 3989:in Zank, p. 259 3985: 3981: 3976: 3972: 3967: 3963: 3958: 3954: 3943: 3939: 3934: 3930: 3925: 3921: 3916: 3912: 3903: 3899: 3894: 3890: 3885: 3881: 3876: 3872: 3867: 3863: 3858: 3854: 3849: 3845: 3839: 3829: 3825: 3820: 3816: 3810: 3800: 3796: 3791: 3787: 3783:Pollack, p. 728 3782: 3778: 3774:Pollack, p. 119 3773: 3769: 3761: 3757: 3752: 3748: 3743: 3736: 3731: 3724: 3720:Goddard, p. 292 3719: 3715: 3710: 3706: 3700:Wayback Machine 3691: 3684: 3680:Nectoux, p. 267 3679: 3675: 3670: 3666: 3661: 3657: 3652: 3648: 3643: 3639: 3634: 3630: 3624: 3615: 3611: 3606: 3602: 3597: 3593: 3588: 3581: 3576: 3572: 3567: 3560: 3555: 3551: 3546: 3542: 3537: 3533: 3528: 3521: 3516: 3512: 3507: 3503: 3498: 3494: 3489: 3485: 3480: 3473: 3468: 3464: 3459: 3455: 3450: 3446: 3441: 3434: 3429: 3425: 3420: 3416: 3411: 3407: 3402: 3398: 3393: 3389: 3383:Wayback Machine 3370: 3366: 3361: 3354: 3349: 3345: 3340: 3336: 3331: 3327: 3322: 3318: 3313: 3309: 3304: 3300: 3292: 3288: 3283: 3279: 3274: 3270: 3265: 3261: 3256: 3252: 3247: 3240: 3235: 3231: 3226: 3217: 3212: 3208: 3203: 3199: 3191: 3176: 3171: 3167: 3162: 3158: 3153: 3149: 3144: 3140: 3130: 3118: 3091: 3086: 3082: 3077: 3073: 3068: 3061: 3053: 3049: 3044: 3040: 3035: 3031: 3026: 3022: 3017: 3010: 3005: 3001: 2996: 2992: 2987: 2983: 2975: 2971: 2966: 2962: 2957: 2953: 2943: 2941: 2922: 2921: 2917: 2907: 2905: 2894: 2893: 2889: 2865: 2864: 2860: 2856: 2851: 2844:, for organ by 2754:Alfredo Casella 2738:Erwin Schulhoff 2714:Arthur Honegger 2695: 2691: 2685:Richard Strauss 2670: 2666: 2651: 2647: 2638: 2634: 2621: 2617: 2607: 2603: 2580: 2576: 2571: 2567: 2558: 2554: 2540: 2536: 2531: 2527: 2522: 2518: 2504: 2500: 2493: 2486:Francis Poulenc 2483: 2479: 2469: 2465: 2460: 2456: 2450: 2446: 2441: 2437: 2432: 2428: 2423: 2419: 2406: 2402: 2377: 2373: 2358: 2354: 2344: 2340: 2331: 2327: 2322: 2318: 2313: 2309: 2301:and the critic 2287:Paul Ladmirault 2279:Florent Schmitt 2276: 2272: 2267: 2263: 2258: 2254: 2245: 2241: 2232: 2228: 2223: 2219: 2214: 2210: 2205: 2201: 2191: 2187: 2175: 2169: 2165: 2138: 2117: 2113: 2112: 2108: 2104: 2099: 2052: 2008: 2002:chamber works. 1965: 1916: 1909: 1908: 1900: 1898: 1897: 1896: 1895: 1893:Thérèse Dussaut 1889: 1882: 1879: 1872: 1866: 1834: 1705: 1645: 1583:The Sunken Bell 1538: 1522: 1449:and unresolved 1439: 1435: 1398: 1392: 1308: 1305:Igor Stravinsky 1304: 1273: 1261:Arthur Honegger 1252: 1210: 1206:Arbie Orenstein 1204: 1176:(1924) and the 1151:Pierrot Lunaire 1109:Richard Strauss 1031: 972: 878: 807:Florent Schmitt 765: 744:Marguerite Long 732: 724:George Gershwin 636:L'affaire Ravel 593:Théodore Dubois 580: 572:Lucienne Bréval 537: 493:Manuel de Falla 489:Igor Stravinsky 481: 441: 416:Théodore Dubois 411: 325:Piano class of 315: 312:Arbie Orenstein 300: 188:Roman Catholics 150:, France, near 132: 127: 125:Life and career 35: 28: 23: 22: 15: 12: 11: 5: 8220: 8218: 8210: 8209: 8204: 8199: 8194: 8189: 8184: 8179: 8174: 8169: 8164: 8159: 8154: 8149: 8144: 8139: 8134: 8129: 8124: 8119: 8114: 8109: 8104: 8099: 8094: 8089: 8084: 8079: 8074: 8069: 8064: 8059: 8049: 8048: 8044: 8043: 8026: 8009: 8007:from Wikiquote 7992: 7963: 7960: 7959: 7947: 7935: 7923: 7911: 7888: 7887: 7885: 7884: 7873: 7870: 7869: 7867: 7866: 7861: 7854: 7849: 7844: 7839: 7833: 7831: 7827: 7826: 7824: 7823: 7820:Trois Chansons 7816: 7809: 7802: 7795: 7788: 7780: 7778: 7774: 7773: 7771: 7770: 7763: 7758: 7751: 7744: 7737: 7734:Menuet antique 7730: 7723: 7716: 7708: 7706: 7702: 7701: 7699: 7698: 7691: 7686: 7681: 7676: 7671: 7666: 7660: 7658: 7654: 7653: 7651: 7650: 7643: 7638: 7632: 7630: 7626: 7625: 7623: 7622: 7615: 7608: 7601: 7594: 7587: 7580: 7577:Menuet antique 7573: 7566: 7559: 7552: 7545: 7537: 7535: 7531: 7530: 7528: 7527: 7519: 7511: 7503: 7495: 7486: 7484: 7480: 7479: 7477: 7476: 7470: 7467: 7466: 7461: 7459: 7458: 7451: 7444: 7436: 7430: 7429: 7424: 7417: 7414: 7413: 7412: 7399: 7387: 7373: 7370: 7369: 7368: 7358: 7346: 7343: 7339: 7338: 7333: 7328: 7322: 7321: 7310: 7309: 7307: 7306:External links 7304: 7302: 7301: 7295: 7282: 7270:10.2307/947128 7264:(2): 245–267. 7244: 7238: 7221: 7215: 7202: 7196: 7180: 7174: 7158: 7132:(3): 225–251. 7115: 7109: 7093: 7087: 7069: 7063: 7050: 7026: 7006: 7000: 6982: 6976: 6963: 6937: 6925:10.2307/964115 6908: 6902: 6886: 6880: 6871:A Ravel Reader 6865: 6842: 6836: 6823: 6805:(4): 467–481. 6789: 6783: 6770: 6764: 6749: 6743: 6730: 6724: 6711: 6705: 6693:Nichols, Roger 6689: 6683: 6663: 6657: 6638: 6595: 6589: 6576: 6570: 6557: 6545:10.2307/960328 6523: 6505: 6483: 6477: 6464: 6454:(3): 243–265. 6429: 6411:(4): 430–441. 6399:Landormy, Paul 6395: 6365: 6359: 6346: 6340: 6327: 6321: 6308: 6286: 6280: 6263: 6257: 6242: 6236: 6218: 6184: 6131: 6112: 6094:(4): 291–303. 6081: 6075: 6062: 6056: 6043: 6037: 6021: 6015: 6002: 5996: 5979: 5973: 5958: 5938: 5918: 5888: 5886: 5883: 5881: 5880: 5868:www.boosey.com 5855: 5830: 5801: 5777: 5753: 5737: 5735:, 14 July 2000 5709: 5682: 5670: 5661: 5642: 5633: 5624: 5615: 5611:The Gramophone 5609:advertisement, 5599: 5595:The Gramophone 5587: 5571: 5552: 5540: 5531: 5522: 5510: 5501: 5492: 5483: 5474: 5454: 5445: 5436: 5409: 5400: 5373: 5356: 5347: 5335: 5326: 5317: 5308: 5288: 5279: 5270: 5261: 5252: 5243: 5234: 5225: 5213: 5204: 5195: 5186: 5177: 5168: 5159: 5150: 5134: 5125: 5123:Murray, p. 317 5116: 5089: 5087:Murray, p. 316 5080: 5071: 5062: 5032: 5023: 5014: 5005: 4996: 4987: 4978: 4969: 4958:"Leading note" 4949: 4940: 4928: 4919: 4910: 4901: 4855: 4843: 4825: 4816: 4807: 4805:, 8 April 2008 4783: 4774: 4765: 4756: 4742: 4730: 4721: 4712: 4703: 4694: 4685: 4676: 4667: 4658: 4647:"Ravel Bolero" 4639: 4630: 4621: 4606: 4594: 4581:Downes, Olin. 4574: 4565: 4556: 4542: 4529: 4520: 4511: 4509:Perret, p. 347 4502: 4493: 4484: 4475: 4462: 4435: 4426: 4410: 4401: 4392: 4383: 4374: 4365: 4353: 4344: 4335: 4323: 4314: 4305: 4296: 4287: 4278: 4264: 4252: 4240: 4231: 4222: 4213: 4204: 4195: 4193:Larner, p. 158 4186: 4174: 4165: 4156: 4147: 4138: 4129: 4120: 4111: 4102: 4090: 4077: 4068: 4059: 4050: 4041: 4032: 4004: 3991: 3979: 3970: 3961: 3952: 3937: 3928: 3919: 3910: 3897: 3888: 3879: 3870: 3861: 3852: 3843: 3823: 3814: 3794: 3785: 3776: 3767: 3755: 3746: 3734: 3722: 3713: 3704: 3682: 3673: 3664: 3655: 3646: 3637: 3628: 3609: 3600: 3591: 3579: 3570: 3558: 3549: 3540: 3531: 3519: 3510: 3501: 3492: 3483: 3471: 3462: 3453: 3444: 3432: 3423: 3414: 3405: 3396: 3387: 3364: 3352: 3343: 3334: 3325: 3316: 3307: 3298: 3286: 3277: 3268: 3259: 3250: 3238: 3229: 3215: 3206: 3197: 3174: 3165: 3156: 3147: 3138: 3089: 3080: 3071: 3059: 3057:in Goss, p. 23 3047: 3038: 3029: 3020: 3008: 2999: 2990: 2981: 2969: 2960: 2951: 2915: 2887: 2857: 2855: 2852: 2850: 2849: 2774:Maurice Delage 2702:Air Louis XIII 2689: 2664: 2645:Ivo Pogorelich 2632: 2624:Steven Osborne 2615: 2601: 2574: 2565: 2552: 2534: 2525: 2516: 2498: 2477: 2463: 2454: 2444: 2435: 2426: 2417: 2400: 2390:, the pianist 2380:Maurice Delage 2371: 2352: 2338: 2325: 2316: 2307: 2297:, the painter 2283:Maurice Delage 2270: 2261: 2252: 2239: 2226: 2217: 2208: 2199: 2185: 2105: 2103: 2100: 2098: 2095: 2051: 2048: 2007: 2004: 1995:Jelly d'Arányi 1964: 1961: 1957:André Cluytens 1899: 1890: 1880: 1875: 1874: 1873: 1864: 1863: 1862: 1833: 1830: 1821:Sir Henry Wood 1704: 1701: 1644: 1641: 1596:Joseph Delteil 1521: 1518: 1428: 1391: 1388: 1364:Clovis Vincent 1297: 1272: 1269: 1239:Ida Rubinstein 1196: 1132:Darius Milhaud 1113:Rite of Spring 1053:George Antheil 1049:Virgil Thomson 1030: 1027: 993:Trois Chansons 971: 968: 911:Ballets Russes 844:as Daphnis in 815:Pierre Monteux 781:Vincent d'Indy 764: 761: 643:Alfred Edwards 579: 576: 552:String Quartet 525:Claude Debussy 501:André Messager 480: 477: 375:Menuet antique 299: 296: 280:Émile Decombes 270:Claude Debussy 209:, a friend of 166:Delouart, was 131: 128: 126: 123: 56:Claude Debussy 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 8219: 8208: 8205: 8203: 8200: 8198: 8195: 8193: 8190: 8188: 8185: 8183: 8180: 8178: 8175: 8173: 8170: 8168: 8165: 8163: 8160: 8158: 8155: 8153: 8150: 8148: 8145: 8143: 8140: 8138: 8135: 8133: 8130: 8128: 8125: 8123: 8120: 8118: 8115: 8113: 8110: 8108: 8105: 8103: 8100: 8098: 8095: 8093: 8090: 8088: 8085: 8083: 8080: 8078: 8075: 8073: 8070: 8068: 8065: 8063: 8060: 8058: 8057:Maurice Ravel 8055: 8054: 8052: 8041:from Wikidata 8040: 8039: 8027: 8023: 8022: 8010: 8006: 8005: 7993: 7989: 7988: 7976: 7972: 7966: 7965:Maurice Ravel 7958: 7953: 7948: 7946: 7936: 7934: 7924: 7922: 7912: 7910: 7900: 7896: 7883: 7875: 7874: 7871: 7865: 7862: 7860: 7859: 7855: 7853: 7850: 7848: 7845: 7843: 7840: 7838: 7835: 7834: 7832: 7828: 7822: 7821: 7817: 7815: 7814: 7810: 7808: 7807: 7803: 7801: 7800: 7796: 7794: 7793: 7789: 7787: 7786: 7782: 7781: 7779: 7775: 7769: 7768: 7764: 7762: 7759: 7757: 7756: 7752: 7750: 7749: 7745: 7743: 7742: 7738: 7736: 7735: 7731: 7729: 7728: 7724: 7722: 7721: 7717: 7715: 7714: 7710: 7709: 7707: 7703: 7697: 7696: 7692: 7690: 7687: 7685: 7682: 7680: 7677: 7675: 7672: 7670: 7667: 7665: 7662: 7661: 7659: 7655: 7649: 7648: 7644: 7642: 7639: 7637: 7634: 7633: 7631: 7627: 7621: 7620: 7616: 7614: 7613: 7609: 7607: 7606: 7602: 7600: 7599: 7595: 7593: 7592: 7588: 7586: 7585: 7581: 7579: 7578: 7574: 7572: 7571: 7570:Ma mère l'Oye 7567: 7565: 7564: 7560: 7558: 7557: 7553: 7551: 7550: 7546: 7544: 7543: 7539: 7538: 7536: 7532: 7525: 7524: 7523:Ma mère l'Oye 7520: 7517: 7516: 7512: 7509: 7508: 7504: 7501: 7500: 7496: 7493: 7492: 7488: 7487: 7485: 7481: 7475: 7472: 7471: 7468: 7464: 7463:Maurice Ravel 7457: 7452: 7450: 7445: 7443: 7438: 7437: 7434: 7428: 7425: 7423: 7420: 7419: 7415: 7411: 7407: 7403: 7400: 7396: 7392: 7388: 7386: 7382: 7379: 7376: 7375: 7372:Miscellaneous 7371: 7366: 7362: 7359: 7356: 7352: 7349: 7348: 7344: 7337: 7334: 7332: 7329: 7327: 7324: 7323: 7318: 7317:Maurice Ravel 7313: 7305: 7298: 7292: 7288: 7283: 7279: 7275: 7271: 7267: 7263: 7260:(in French). 7259: 7256: 7251: 7245: 7241: 7235: 7230: 7229: 7222: 7218: 7212: 7208: 7203: 7199: 7193: 7189: 7185: 7181: 7177: 7171: 7167: 7163: 7159: 7155: 7151: 7147: 7143: 7139: 7135: 7131: 7127: 7126: 7121: 7116: 7112: 7106: 7102: 7098: 7094: 7090: 7084: 7080: 7079: 7074: 7070: 7066: 7060: 7056: 7051: 7047: 7043: 7039: 7035: 7031: 7027: 7023: 7019: 7015: 7011: 7007: 7003: 6997: 6993: 6992: 6987: 6983: 6979: 6973: 6969: 6964: 6960: 6956: 6952: 6949: 6944: 6938: 6934: 6930: 6926: 6922: 6918: 6914: 6909: 6905: 6899: 6895: 6891: 6887: 6883: 6877: 6873: 6872: 6866: 6862: 6858: 6854: 6850: 6849: 6843: 6839: 6833: 6829: 6824: 6820: 6816: 6812: 6808: 6804: 6800: 6799: 6794: 6790: 6786: 6780: 6776: 6771: 6767: 6761: 6757: 6756: 6750: 6746: 6740: 6736: 6731: 6727: 6721: 6717: 6712: 6708: 6702: 6698: 6694: 6690: 6686: 6680: 6676: 6675:Roger Nichols 6672: 6668: 6664: 6660: 6654: 6650: 6649: 6644: 6643:Amanda Holden 6639: 6635: 6631: 6627: 6623: 6619: 6615: 6611: 6607: 6606: 6601: 6596: 6592: 6586: 6582: 6577: 6573: 6567: 6563: 6562:Maurice Ravel 6558: 6554: 6550: 6546: 6542: 6538: 6534: 6533: 6528: 6524: 6512: 6508: 6502: 6498: 6497: 6492: 6488: 6484: 6480: 6474: 6470: 6469:Maurice Ravel 6465: 6461: 6457: 6453: 6449: 6448: 6443: 6441: 6437: 6430: 6426: 6422: 6418: 6414: 6410: 6406: 6405: 6400: 6396: 6392: 6388: 6384: 6381: 6376: 6371: 6366: 6362: 6356: 6352: 6347: 6343: 6337: 6333: 6328: 6324: 6318: 6314: 6309: 6305: 6301: 6297: 6296: 6291: 6287: 6283: 6277: 6272: 6271: 6264: 6260: 6254: 6250: 6249: 6243: 6239: 6233: 6229: 6228: 6223: 6219: 6215: 6211: 6207: 6203: 6199: 6195: 6194: 6189: 6185: 6181: 6177: 6172: 6167: 6163: 6159: 6155: 6151: 6147: 6143: 6142: 6137: 6132: 6128: 6124: 6120: 6119: 6113: 6109: 6105: 6101: 6097: 6093: 6089: 6088: 6082: 6078: 6072: 6068: 6063: 6059: 6053: 6049: 6044: 6040: 6034: 6030: 6029:Gabriel Fauré 6026: 6022: 6018: 6012: 6008: 6003: 5999: 5993: 5989: 5985: 5980: 5976: 5970: 5966: 5965: 5959: 5955: 5951: 5947: 5943: 5939: 5935: 5931: 5927: 5923: 5919: 5915: 5911: 5907: 5903: 5899: 5895: 5890: 5889: 5884: 5869: 5865: 5859: 5856: 5844: 5840: 5834: 5831: 5819: 5815: 5813: 5805: 5802: 5787: 5781: 5778: 5763: 5757: 5754: 5750: 5746: 5741: 5738: 5734: 5730: 5726: 5723: 5721: 5713: 5710: 5706: 5702: 5698: 5695: 5692:Henley, Jon. 5689: 5687: 5683: 5679: 5674: 5671: 5665: 5662: 5658: 5654: 5651: 5646: 5643: 5637: 5634: 5628: 5625: 5619: 5616: 5612: 5608: 5603: 5600: 5596: 5591: 5588: 5581: 5575: 5572: 5568: 5564: 5561: 5556: 5553: 5547: 5545: 5541: 5535: 5532: 5526: 5523: 5517: 5515: 5511: 5505: 5502: 5496: 5493: 5487: 5484: 5478: 5475: 5468: 5464: 5458: 5455: 5449: 5446: 5440: 5437: 5433: 5429: 5425: 5422: 5416: 5414: 5410: 5404: 5401: 5397: 5393: 5389: 5386: 5380: 5378: 5374: 5370: 5366: 5360: 5357: 5351: 5348: 5342: 5340: 5336: 5330: 5327: 5321: 5318: 5312: 5309: 5302: 5298: 5292: 5289: 5283: 5280: 5274: 5271: 5265: 5262: 5256: 5253: 5247: 5244: 5238: 5235: 5229: 5226: 5222: 5217: 5214: 5208: 5205: 5199: 5196: 5190: 5187: 5181: 5178: 5172: 5169: 5163: 5160: 5154: 5151: 5147: 5143: 5138: 5135: 5132:White, p. 306 5129: 5126: 5120: 5117: 5110: 5106: 5102: 5099: 5093: 5090: 5084: 5081: 5075: 5072: 5066: 5063: 5056: 5052: 5048: 5045: 5039: 5037: 5033: 5027: 5024: 5018: 5015: 5009: 5006: 5000: 4997: 4991: 4988: 4982: 4979: 4973: 4970: 4963: 4959: 4953: 4950: 4944: 4941: 4937: 4932: 4929: 4923: 4920: 4914: 4911: 4905: 4902: 4895: 4891: 4887: 4883: 4879: 4875: 4871: 4868: 4864: 4859: 4856: 4850: 4848: 4844: 4839: 4835: 4829: 4826: 4820: 4817: 4811: 4808: 4804: 4800: 4796: 4793: 4787: 4784: 4778: 4775: 4769: 4766: 4760: 4757: 4751: 4749: 4747: 4743: 4739: 4734: 4731: 4725: 4722: 4716: 4713: 4707: 4704: 4698: 4695: 4689: 4686: 4680: 4677: 4674:James, p. 126 4671: 4668: 4662: 4659: 4655: 4651: 4648: 4643: 4640: 4634: 4631: 4625: 4622: 4618: 4613: 4611: 4607: 4601: 4599: 4595: 4588: 4584: 4578: 4575: 4569: 4566: 4560: 4557: 4551: 4549: 4547: 4543: 4539: 4533: 4530: 4524: 4521: 4515: 4512: 4506: 4503: 4497: 4494: 4491:James, p. 101 4488: 4485: 4479: 4476: 4472: 4466: 4463: 4455: 4451: 4447: 4444: 4439: 4436: 4430: 4427: 4421: 4419: 4417: 4415: 4411: 4405: 4402: 4396: 4393: 4387: 4384: 4378: 4375: 4369: 4366: 4362: 4357: 4354: 4348: 4345: 4339: 4336: 4330: 4328: 4324: 4318: 4315: 4309: 4306: 4300: 4297: 4291: 4288: 4282: 4279: 4273: 4271: 4269: 4265: 4259: 4257: 4253: 4247: 4245: 4241: 4235: 4232: 4226: 4223: 4217: 4214: 4208: 4205: 4199: 4196: 4190: 4187: 4183: 4178: 4175: 4169: 4166: 4160: 4157: 4151: 4148: 4142: 4139: 4133: 4130: 4124: 4121: 4115: 4112: 4106: 4103: 4099: 4094: 4091: 4087: 4081: 4078: 4072: 4069: 4063: 4060: 4054: 4051: 4045: 4042: 4036: 4033: 4030: 4026: 4019: 4018: 4013: 4008: 4005: 4001: 3995: 3992: 3988: 3983: 3980: 3974: 3971: 3965: 3962: 3956: 3953: 3949: 3948: 3941: 3938: 3935:Jones, p. 133 3932: 3929: 3923: 3920: 3914: 3911: 3907: 3901: 3898: 3892: 3889: 3883: 3880: 3874: 3871: 3865: 3862: 3856: 3853: 3847: 3844: 3837: 3833: 3827: 3824: 3818: 3815: 3808: 3804: 3798: 3795: 3789: 3786: 3780: 3777: 3771: 3768: 3764: 3759: 3756: 3750: 3747: 3741: 3739: 3735: 3729: 3727: 3723: 3717: 3714: 3708: 3705: 3701: 3697: 3694: 3689: 3687: 3683: 3677: 3674: 3668: 3665: 3659: 3656: 3650: 3647: 3641: 3638: 3632: 3629: 3622: 3618: 3613: 3610: 3604: 3601: 3595: 3592: 3586: 3584: 3580: 3574: 3571: 3565: 3563: 3559: 3553: 3550: 3544: 3541: 3535: 3532: 3526: 3524: 3520: 3514: 3511: 3505: 3502: 3496: 3493: 3487: 3484: 3478: 3476: 3472: 3466: 3463: 3457: 3454: 3448: 3445: 3439: 3437: 3433: 3427: 3424: 3418: 3415: 3409: 3406: 3400: 3397: 3391: 3388: 3384: 3380: 3377: 3373: 3368: 3365: 3359: 3357: 3353: 3347: 3344: 3338: 3335: 3329: 3326: 3320: 3317: 3311: 3308: 3302: 3299: 3295: 3290: 3287: 3281: 3278: 3272: 3269: 3263: 3260: 3254: 3251: 3245: 3243: 3239: 3233: 3230: 3224: 3222: 3220: 3216: 3210: 3207: 3201: 3198: 3194: 3189: 3187: 3185: 3183: 3181: 3179: 3175: 3169: 3166: 3160: 3157: 3151: 3148: 3142: 3139: 3134: 3128: 3124: 3121: 3116: 3114: 3112: 3110: 3108: 3106: 3104: 3102: 3100: 3098: 3096: 3094: 3090: 3084: 3081: 3075: 3072: 3066: 3064: 3060: 3056: 3051: 3048: 3042: 3039: 3033: 3030: 3024: 3021: 3015: 3013: 3009: 3003: 3000: 2994: 2991: 2985: 2982: 2978: 2973: 2970: 2964: 2961: 2955: 2952: 2939: 2935: 2931: 2930: 2925: 2919: 2916: 2903: 2902: 2897: 2891: 2888: 2883: 2879: 2875: 2873: 2868: 2862: 2859: 2853: 2847: 2843: 2839: 2838:Maurice Ohana 2835: 2831: 2827: 2826:Rudolf Escher 2823: 2819: 2815: 2811: 2810:David Diamond 2807: 2803: 2802:Roland-Manuel 2799: 2795: 2791: 2787: 2783: 2779: 2775: 2771: 2767: 2763: 2759: 2755: 2751: 2747: 2743: 2739: 2735: 2734:11 Inventions 2731: 2730:Ricardo Viñes 2727: 2723: 2719: 2715: 2711: 2710:Chant de joie 2707: 2703: 2699: 2693: 2690: 2686: 2682: 2678: 2674: 2668: 2665: 2661: 2657: 2646: 2642: 2636: 2633: 2629: 2625: 2619: 2616: 2612: 2611: 2605: 2602: 2598: 2594: 2593: 2588: 2584: 2578: 2575: 2569: 2566: 2562: 2556: 2553: 2549: 2546: 2545: 2538: 2535: 2529: 2526: 2520: 2517: 2512: 2508: 2502: 2499: 2491: 2490:Georges Auric 2487: 2481: 2478: 2474: 2467: 2464: 2458: 2455: 2448: 2445: 2439: 2436: 2430: 2427: 2421: 2418: 2414: 2410: 2404: 2401: 2397: 2393: 2389: 2385: 2381: 2375: 2372: 2368: 2364: 2363: 2356: 2353: 2349: 2342: 2339: 2335: 2329: 2326: 2320: 2317: 2311: 2308: 2304: 2300: 2296: 2292: 2288: 2284: 2280: 2274: 2271: 2265: 2262: 2256: 2253: 2249: 2243: 2240: 2236: 2230: 2227: 2221: 2218: 2212: 2209: 2203: 2200: 2196: 2189: 2186: 2181: 2173: 2172: 2159: 2110: 2107: 2101: 2096: 2094: 2091: 2089: 2088: 2083: 2082: 2075: 2071: 2069: 2065: 2061: 2057: 2049: 2047: 2045: 2041: 2040:Ma mère l'Oye 2037: 2033: 2029: 2025: 2024:Mark Hambourg 2021: 2017: 2013: 2005: 2003: 2000: 1996: 1992: 1988: 1983: 1981: 1980: 1975: 1970: 1963:Chamber music 1962: 1960: 1958: 1954: 1953:Ma mère L'Oye 1950: 1945: 1941: 1937: 1933: 1928: 1926: 1922: 1915: 1907: 1905: 1894: 1891:Performed by 1878: 1861: 1859: 1855: 1851: 1847: 1843: 1839: 1838:Ma mère l'Oye 1831: 1829: 1826: 1822: 1818: 1814: 1809: 1807: 1806: 1801: 1797: 1793: 1789: 1784: 1782: 1778: 1774: 1770: 1769:Ma mère l'Oye 1767: 1763: 1759: 1755: 1751: 1747: 1743: 1735: 1731: 1730: 1724: 1720: 1718: 1715: 1711: 1702: 1700: 1698: 1692: 1690: 1686: 1682: 1678: 1677: 1672: 1667: 1665: 1661: 1657: 1656: 1651: 1642: 1640: 1637: 1634: 1630: 1626: 1625: 1619: 1617: 1612: 1608: 1603: 1601: 1597: 1593: 1589: 1585: 1584: 1579: 1575: 1571: 1567: 1563: 1559: 1555: 1551: 1542: 1537: 1533: 1532: 1526: 1519: 1517: 1515: 1511: 1507: 1503: 1499: 1495: 1491: 1487: 1483: 1479: 1475: 1471: 1467: 1463: 1458: 1456: 1452: 1451:appoggiaturas 1448: 1444: 1438: 1432: 1427: 1425: 1421: 1417: 1413: 1409: 1404: 1402: 1401:Marcel Marnat 1397: 1389: 1387: 1385: 1378:Ravel's grave 1376: 1372: 1369: 1365: 1360: 1358: 1354: 1350: 1346: 1342: 1341:Lucien Garban 1338: 1334: 1330: 1329:Jacques Ibert 1326: 1325: 1320: 1315: 1314: 1307: 1301: 1296: 1294: 1289: 1284: 1282: 1278: 1270: 1268: 1266: 1262: 1258: 1250: 1249: 1244: 1240: 1236: 1231: 1229: 1225: 1224:Niagara Falls 1220: 1215: 1209: 1207: 1201: 1195: 1193: 1190: 1189:Seine-et-Oise 1186: 1181: 1179: 1175: 1174: 1169: 1165: 1164: 1159: 1158: 1153: 1152: 1147: 1146: 1141: 1137: 1133: 1129: 1125: 1120: 1119: 1114: 1110: 1106: 1105:Gustav Mahler 1101: 1099: 1095: 1091: 1087: 1083: 1082: 1073: 1068: 1064: 1062: 1058: 1054: 1050: 1046: 1045:Aaron Copland 1041: 1037: 1028: 1026: 1024: 1020: 1016: 1010: 1006: 1004: 999: 995: 994: 989: 981: 978:Ravel in the 976: 969: 967: 965: 961: 957: 956: 951: 947: 943: 942: 937: 936: 935:Khovanshchina 931: 926: 924: 920: 916: 915:Michel Fokine 912: 908: 904: 900: 898: 897: 892: 888: 884: 876: 875: 870: 866: 862: 861: 856: 855:Ma mère l'Oye 849: 848: 843: 842:Michel Fokine 839: 835: 833: 832:bedroom farce 829: 825: 824: 818: 816: 812: 808: 804: 803:Ma mère l'Oye 800: 796: 795:Zoltán Kodály 792: 788: 787: 782: 778: 771:Ravel in 1913 769: 762: 760: 756: 754: 753:Benjamin Ivry 750: 745: 740: 738: 730: 725: 720: 712: 708: 704: 702: 701: 696: 692: 691: 686: 685: 680: 679: 678:Ma mère l'Oye 674: 670: 669: 664: 663: 658: 652: 650: 649: 644: 639: 637: 633: 629: 625: 624:Paul Landormy 621: 617: 613: 609: 605: 598: 594: 590: 586: 582: 577: 575: 573: 569: 568:Misia Edwards 565: 559: 557: 553: 549: 548: 543: 534: 533:Impressionist 526: 522: 518: 516: 512: 511:Opéra-Comique 508: 507: 502: 496: 494: 490: 486: 478: 476: 473: 467: 465: 461: 457: 456: 451: 447: 438: 433: 431: 427: 426: 421: 417: 409: 408:André Gedalge 401: 400:Gabriel Fauré 397: 393: 391: 387: 386: 381: 377: 376: 371: 370:Clément Marot 367: 366:Paul Verlaine 361: 359: 358: 353: 348: 347:Gabriel Fauré 344: 340: 339:Émile Pessard 336: 328: 323: 319: 313: 309: 305: 297: 295: 293: 292:Alfred Cortot 289: 288:Reynaldo Hahn 285: 281: 277: 275: 271: 267: 264:conducted by 263: 259: 255: 251: 247: 243: 239: 238:Ricardo Viñes 234: 232: 228: 224: 220: 216: 212: 208: 203: 201: 200:Roger Nichols 195: 193: 189: 184: 182: 178: 177:loop-the-loop 174: 169: 165: 161: 157: 153: 149: 145: 136: 129: 124: 122: 118: 116: 115: 110: 109: 102: 100: 99: 94: 90: 89:orchestration 86: 85: 80: 76: 75:neoclassicism 72: 68: 64: 59: 57: 53: 52:Impressionism 49: 43:Ravel in 1925 41: 37: 33: 19: 8036: 8019: 8002: 7990:from Commons 7985: 7964: 7856: 7818: 7811: 7804: 7797: 7790: 7783: 7765: 7753: 7746: 7739: 7732: 7725: 7718: 7711: 7693: 7645: 7617: 7610: 7603: 7596: 7589: 7582: 7575: 7568: 7561: 7554: 7547: 7540: 7521: 7513: 7505: 7497: 7489: 7462: 7416:Institutions 7367:(ChoralWiki) 7326:Online books 7316: 7286: 7261: 7248: 7227: 7206: 7187: 7165: 7129: 7123: 7119: 7100: 7077: 7054: 7037: 7013: 6990: 6967: 6941: 6916: 6912: 6893: 6870: 6852: 6846: 6827: 6802: 6796: 6774: 6754: 6734: 6715: 6696: 6670: 6647: 6609: 6603: 6599: 6580: 6561: 6536: 6530: 6515:. Retrieved 6495: 6468: 6451: 6445: 6439: 6435: 6408: 6402: 6373: 6369: 6350: 6331: 6312: 6294: 6269: 6247: 6226: 6197: 6191: 6145: 6139: 6117: 6091: 6085: 6066: 6047: 6028: 6006: 5983: 5963: 5945: 5942: 5925: 5922: 5900:(1): 75–82. 5897: 5893: 5871:. Retrieved 5867: 5858: 5846:. Retrieved 5843:Presto Music 5842: 5833: 5821:. Retrieved 5817: 5811: 5804: 5792:. Retrieved 5780: 5768:. Retrieved 5756: 5740: 5732: 5719: 5712: 5705:The Guardian 5704: 5694:"Poor Ravel" 5673: 5664: 5645: 5636: 5627: 5618: 5610: 5602: 5594: 5590: 5574: 5555: 5534: 5525: 5504: 5495: 5486: 5477: 5466: 5457: 5448: 5439: 5432:The Guardian 5431: 5403: 5395: 5369:The Guardian 5368: 5359: 5350: 5329: 5320: 5311: 5300: 5291: 5282: 5273: 5264: 5255: 5246: 5237: 5228: 5220: 5216: 5211:James, p. 21 5207: 5198: 5189: 5180: 5171: 5162: 5153: 5137: 5128: 5119: 5108: 5092: 5083: 5078:Hill, p. 144 5074: 5065: 5054: 5026: 5017: 5008: 4999: 4990: 4981: 4972: 4961: 4952: 4943: 4935: 4931: 4922: 4913: 4904: 4893: 4858: 4838:the original 4828: 4819: 4810: 4802: 4786: 4777: 4768: 4759: 4737: 4733: 4724: 4715: 4706: 4697: 4688: 4679: 4670: 4661: 4642: 4633: 4624: 4616: 4586: 4577: 4568: 4559: 4532: 4523: 4514: 4505: 4496: 4487: 4478: 4470: 4465: 4453: 4443:"Noces, Les" 4438: 4429: 4404: 4395: 4386: 4377: 4368: 4360: 4356: 4347: 4338: 4317: 4308: 4299: 4290: 4281: 4238:James, p. 81 4234: 4225: 4216: 4207: 4198: 4189: 4181: 4177: 4168: 4159: 4150: 4141: 4132: 4123: 4114: 4109:James, p. 72 4105: 4097: 4093: 4085: 4080: 4071: 4062: 4053: 4044: 4035: 4015: 4007: 3999: 3994: 3986: 3982: 3973: 3964: 3955: 3945: 3940: 3931: 3922: 3913: 3905: 3900: 3891: 3882: 3873: 3864: 3855: 3846: 3835: 3826: 3817: 3806: 3797: 3788: 3779: 3770: 3762: 3758: 3749: 3716: 3707: 3676: 3667: 3658: 3649: 3640: 3631: 3620: 3612: 3603: 3594: 3589:James, p. 46 3573: 3552: 3543: 3534: 3513: 3504: 3495: 3486: 3465: 3456: 3447: 3426: 3421:James, p. 22 3417: 3408: 3399: 3390: 3367: 3346: 3337: 3328: 3319: 3310: 3301: 3293: 3289: 3280: 3271: 3262: 3253: 3232: 3209: 3200: 3168: 3159: 3154:James, p. 15 3150: 3141: 3126: 3083: 3074: 3054: 3050: 3041: 3032: 3027:Howat, p. 71 3023: 3002: 2997:James, p. 13 2993: 2984: 2976: 2972: 2963: 2954: 2942:. Retrieved 2927: 2918: 2906:. Retrieved 2899: 2890: 2882:the original 2870: 2861: 2841: 2833: 2829: 2821: 2818:Robert Moran 2813: 2805: 2794:3 Sarabandes 2793: 2785: 2777: 2769: 2765: 2757: 2749: 2741: 2733: 2725: 2717: 2709: 2701: 2692: 2681:Rachmaninoff 2667: 2640: 2635: 2627: 2618: 2608: 2604: 2596: 2590: 2586: 2582: 2577: 2568: 2555: 2542: 2537: 2528: 2519: 2501: 2480: 2466: 2457: 2447: 2438: 2429: 2420: 2403: 2374: 2360: 2355: 2341: 2333: 2328: 2319: 2310: 2289:, the poets 2273: 2264: 2255: 2242: 2229: 2220: 2211: 2202: 2188: 2109: 2092: 2087:The Guardian 2085: 2079: 2076: 2072: 2053: 2043: 2039: 2035: 2031: 2027: 2019: 2009: 1990: 1984: 1977: 1966: 1952: 1948: 1943: 1939: 1935: 1931: 1929: 1924: 1920: 1913: 1910: 1857: 1853: 1849: 1845: 1841: 1837: 1835: 1812: 1810: 1803: 1787: 1785: 1780: 1776: 1772: 1768: 1765: 1761: 1757: 1753: 1749: 1745: 1741: 1739: 1727: 1713: 1706: 1696: 1693: 1680: 1674: 1670: 1668: 1663: 1659: 1653: 1649: 1646: 1638: 1628: 1622: 1620: 1615: 1606: 1604: 1591: 1587: 1581: 1573: 1569: 1561: 1558:Jeanne d'Arc 1557: 1553: 1549: 1547: 1529: 1459: 1454: 1440: 1434: 1430: 1405: 1399: 1381: 1361: 1336: 1322: 1311: 1309: 1303: 1299: 1285: 1274: 1264: 1246: 1234: 1232: 1228:Grand Canyon 1211: 1203: 1198: 1182: 1171: 1161: 1155: 1149: 1143: 1116: 1112: 1102: 1097: 1093: 1089: 1085: 1079: 1077: 1032: 1018: 1011: 1007: 991: 985: 963: 959: 953: 949: 945: 939: 933: 927: 923:neurasthenia 902: 901: 894: 886: 882: 872: 865:Queen's Hall 858: 854: 852: 845: 828:Albert Carré 821: 819: 811:Ernest Bloch 802: 798: 790: 784: 774: 757: 741: 736: 716: 698: 694: 688: 682: 676: 672: 666: 660: 656: 653: 646: 640: 635: 627: 604:Prix de Rome 601: 581: 560: 555: 550:(1901), the 545: 530: 504: 497: 482: 468: 453: 436: 434: 423: 405: 383: 379: 373: 362: 355: 351: 332: 301: 278: 235: 219:counterpoint 204: 196: 192:free-thinker 185: 163: 141: 119: 112: 106: 103: 96: 82: 60: 47: 46: 36: 8067:1937 deaths 8062:1875 births 7864:Les Apaches 7629:Concertante 7612:Shéhérazade 7395:BBC Radio 3 7345:Free scores 7253: [ 6946: [ 6434:"Ravel and 6378: [ 6200:: 130–146. 4719:Zank, p. 20 4563:Zank, p. 33 4250:Zank, p. 11 3087:Goss, p. 24 3078:Goss, p. 23 2786:24 Preludes 2548:Olin Downes 2367:Robert Alda 2299:Paul Sordes 1942:(1913) and 1832:Piano music 1697:Shéhérazade 1660:Shéhérazade 1600:Joan of Arc 1570:The Sandman 1539: [ 1490:passacaglia 1368:ventricular 1324:Don Quixote 1295:conducted. 1192:département 1136:grand opera 1061:Cyril Scott 980:French Army 675:(1907–08), 591:(left) and 564:Emma Bardac 556:Shéhérazade 485:Les Apaches 446:Pierre Lalo 437:Shéhérazade 425:Shéhérazade 284:Salle Érard 223:Léo Delibes 130:Early years 8051:Categories 8004:Quotations 7858:The Bolero 7852:Ravel Peak 7720:Jeux d'eau 7705:Solo piano 7534:Orchestral 6855:: 91–102. 6385:: 97–135. 6222:Howat, Roy 5873:19 October 5848:19 October 5823:19 October 5794:19 October 5770:19 October 5722:de Ravel?" 3886:Ivry, p. 4 2854:References 2836:(1983) by 2824:(1940) by 2816:(1976) by 2798:Erik Satie 2778:7 Preludes 2746:Stravinsky 2698:Henri Ghys 2514:permanent. 2388:Leo Arnaud 2022:played by 2020:Jeux d'eau 2012:piano roll 2006:Recordings 1904:media help 1846:Jeux d'eau 1825:Leo Funtek 1734:Léon Bakst 1633:bitonality 1420:classicist 1394:See also: 1271:Last years 1057:Arnold Bax 1015:Piano Trio 998:a cappella 930:Mussorgsky 919:Léon Bakst 893:in April. 547:Jeux d'eau 390:Erik Satie 250:Baudelaire 207:Henri Ghys 93:Mussorgsky 7909:Biography 7146:0148-2076 7046:500373060 7022:464080687 6626:0148-2076 6612:: 50–76. 6602:(1912)". 6436:The Raven 6304:474667514 6292:(1959) . 5954:811255627 5934:884172234 5146:Operabase 4886:Roy Howat 4086:The Times 4000:The Times 3947:Le Figaro 3906:The Times 3135:required) 2944:6 October 2908:6 October 2656:Ashkenazy 2626:wrote of 2070:in 1928. 1999:dissonant 1616:tendresse 1578:Hauptmann 1502:Hungarian 1214:Gauloises 1128:atonality 1118:Les noces 874:The Times 542:symbolism 450:Beethoven 256:. At the 183:in 1903. 67:modernism 7882:Category 7761:Sonatine 7563:La valse 7526:(ballet) 7510:(ballet) 7494:(ballet) 7381:Archived 7186:(1964). 7164:(2010). 7099:(1997). 7075:(1981). 7036:(1955). 6988:(2007). 6892:(1982). 6861:41212291 6695:(1977). 6669:(1991). 6511:Archived 6493:(1975). 6391:40648547 6162:29530952 6027:(2000). 5914:11784380 5733:Le Point 5725:Archived 5697:Archived 5653:Archived 5607:Columbia 5563:Archived 5424:Archived 5388:Archived 5101:Archived 5047:Archived 4870:Archived 4795:Archived 4650:Archived 4446:Archived 4025:Archived 3696:Archived 3379:Archived 2938:Archived 2766:3 Pieces 2660:Argerich 2581:In 2008 2561:WorldCat 2559:In 2015 2081:Le Point 1938:(1912), 1934:(1909), 1746:La valse 1566:Hoffmann 1486:habanera 1474:rigaudon 1412:Schubert 1333:baritone 1226:and the 1180:(1927). 1170:(1926), 1090:La valse 1081:La valse 891:Châtelet 648:Le Matin 620:Massenet 440:debutant 380:Habanera 254:Mallarmé 227:Schumann 152:Biarritz 146:town of 7895:Portals 7830:Related 7748:Miroirs 7695:Tzigane 7657:Chamber 7647:Tzigane 7584:Miroirs 7518:(opera) 7502:(opera) 7408:of the 7404:in the 7363:in the 7357:(IMSLP) 7353:at the 6959:4494864 6645:(ed.). 6517:1 April 6180:3135020 6171:2545963 6127:2793964 5885:Sources 5751:(IMSLP) 5747:at the 5560:"Ravel" 2934:Longman 2896:"Ravel" 2750:9 Pezzi 2628:Gaspard 2348:solfège 2176:French: 1991:Tzigane 1858:Miroirs 1773:Tzigane 1762:Miroirs 1717:tam-tam 1562:Olympia 1550:Olympia 1510:Borodin 1494:Hebraic 1482:czardas 1470:forlane 1424:ternary 1319:aphasia 1243:Albéniz 1173:Tzigane 1168:Colette 1040:Les Six 982:in 1916 695:Miroirs 668:Miroirs 608:Berlioz 595:of the 527:in 1905 509:at the 357:mélodie 274:gamelan 215:harmony 160:Versoix 148:Ciboure 71:baroque 7933:France 7549:Boléro 7314:about 7293: 7278:947128 7276: 7236: 7213: 7194: 7172: 7152: 7144: 7107: 7085: 7061: 7044: 7020: 6998: 6974: 6957: 6933:964115 6931: 6900: 6878: 6859: 6834: 6819:741228 6817: 6781: 6762: 6741: 6722: 6703: 6681: 6655: 6632: 6624: 6587: 6568: 6553:960328 6551: 6503: 6475: 6440:Boléro 6425:738857 6423: 6389: 6357: 6338: 6319: 6302: 6278: 6255: 6234: 6214:738561 6212: 6178: 6168: 6160: 6125: 6108:725957 6106: 6073: 6054: 6035: 6013: 5994: 5971: 5952: 5932: 5912: 5720:Boléro 5221:Quoted 4936:Quoted 4880:; and 4738:Quoted 4617:Quoted 4471:quoted 4361:Quoted 4182:Quoted 4098:Quoted 3987:Quoted 3763:Quoted 3294:Quoted 3193:Lesure 3055:Quoted 2977:Quoted 2872:Lexico 2652: 2648: 2597:Boléro 2587:Boléro 2494: 2334:Myrrha 2235:spinet 2168:, rav- 2044:Boléro 2032:Ondine 1917: 1805:Boléro 1792:Mozart 1736:(1912) 1576:after 1520:Operas 1466:minuet 1462:bolero 1408:Rameau 1345:tumour 1265:Boléro 1253: 1248:Iberia 1235:Boléro 879: 733: 693:(from 628:furore 612:Gounod 538: 460:Pavane 442: 412: 316: 308:Chopin 242:Wagner 168:Basque 144:Basque 84:Boléro 8021:Texts 7987:Media 7957:Opera 7945:Music 7777:Vocal 7483:Stage 7274:JSTOR 7257:] 7150:JSTOR 6955:JSTOR 6950:] 6929:JSTOR 6857:JSTOR 6815:JSTOR 6755:Ravel 6697:Ravel 6630:JSTOR 6549:JSTOR 6421:JSTOR 6387:JSTOR 6382:] 6295:Ravel 6270:Ravel 6210:JSTOR 6158:JSTOR 6104:JSTOR 5789:(PDF) 5765:(PDF) 2677:Grieg 2673:Elgar 2413:stout 2411:with 2102:Notes 1543:] 1514:Haydn 1506:gypsy 1498:Greek 1478:waltz 1443:modal 1416:Liszt 1390:Music 1029:1920s 869:Proms 616:Bizet 472:dandy 231:Grieg 8038:Data 7291:ISBN 7234:ISBN 7211:ISBN 7192:ISBN 7170:ISBN 7142:ISSN 7105:ISBN 7083:ISBN 7059:ISBN 7042:OCLC 7018:OCLC 6996:ISBN 6972:ISBN 6898:ISBN 6876:ISBN 6832:ISBN 6779:ISBN 6760:ISBN 6739:ISBN 6720:ISBN 6701:ISBN 6679:ISBN 6653:ISBN 6622:ISSN 6585:ISBN 6566:ISBN 6519:2015 6501:ISBN 6473:ISBN 6355:ISBN 6336:ISBN 6317:ISBN 6300:OCLC 6276:ISBN 6253:ISBN 6232:ISBN 6176:PMID 6123:OCLC 6071:ISBN 6052:ISBN 6033:ISBN 6011:ISBN 5992:ISBN 5969:ISBN 5950:OCLC 5930:OCLC 5910:PMID 5875:2022 5850:2022 5825:2022 5796:2022 5772:2022 4884:and 2946:2019 2910:2019 2683:and 2507:duel 2496:..." 2473:army 2382:and 2293:and 2285:and 2195:Jura 2038:and 2030:and 1856:and 1823:and 1798:and 1756:and 1679:and 1662:and 1556:and 1504:and 1488:and 1355:and 1286:The 1126:and 1124:jazz 1107:and 1096:and 1059:and 1051:and 960:Rite 948:and 775:The 735:... 491:and 428:and 378:and 368:and 290:and 252:and 79:jazz 7410:ZBW 7266:doi 7134:doi 6921:doi 6917:123 6807:doi 6614:doi 6541:doi 6537:116 6456:doi 6413:doi 6372:". 6202:doi 6166:PMC 6150:doi 6146:296 6096:doi 5902:doi 2840:, 2828:, 2812:, 2808:by 2796:by 2792:, 2788:by 2784:, 2780:by 2776:, 2772:by 2764:, 2760:by 2756:, 2752:by 2748:, 2744:by 2740:, 2736:by 2732:, 2728:by 2724:, 2720:by 2716:, 2712:by 2708:, 2704:by 2541:In 2166:VEL 2164:rə- 1764:), 1760:, ( 1732:by 1618:." 1580:'s 1568:'s 1534:by 1245:'s 970:War 966:. 797:'s 246:Poe 164:née 95:'s 8053:: 7393:. 7272:. 7262:82 7255:fr 7148:. 7140:. 7130:24 7128:. 7032:; 6948:fr 6927:. 6915:. 6853:64 6851:. 6813:. 6803:53 6801:. 6628:. 6620:. 6610:28 6608:. 6547:. 6535:. 6509:. 6489:; 6452:40 6450:. 6444:. 6419:. 6409:25 6407:. 6380:fr 6208:. 6198:13 6196:. 6174:. 6164:. 6156:. 6144:. 6138:. 6102:. 6090:. 5986:. 5908:. 5896:. 5866:. 5841:. 5816:. 5731:, 5703:, 5685:^ 5543:^ 5513:^ 5465:, 5430:, 5412:^ 5394:, 5376:^ 5367:, 5338:^ 5299:, 5144:, 5107:, 5053:, 5035:^ 4960:, 4892:, 4888:. 4865:. 4846:^ 4801:, 4745:^ 4609:^ 4597:^ 4585:, 4545:^ 4452:, 4413:^ 4326:^ 4267:^ 4255:^ 4243:^ 4014:, 3834:, 3805:, 3737:^ 3725:^ 3685:^ 3619:, 3582:^ 3561:^ 3522:^ 3474:^ 3435:^ 3374:. 3355:^ 3241:^ 3218:^ 3177:^ 3125:, 3092:^ 3062:^ 3011:^ 2936:. 2932:. 2926:. 2898:. 2876:. 2869:. 2832:: 2679:, 2675:, 2509:. 2281:, 2237:". 2174:; 2170:EL 1819:, 1771:, 1744:, 1714:pp 1687:, 1673:, 1560:. 1552:, 1541:fr 1500:, 1496:, 1484:, 1480:, 1476:, 1472:, 1468:, 1414:, 1351:, 1063:. 1047:, 813:, 809:, 793:, 618:, 614:, 610:, 466:. 458:(" 294:. 248:, 217:, 73:, 69:, 7973:: 7897:: 7455:e 7448:t 7441:v 7397:. 7299:. 7280:. 7268:: 7242:. 7219:. 7200:. 7178:. 7156:. 7136:: 7113:. 7091:. 7067:. 7048:. 7024:. 7004:. 6980:. 6961:. 6935:. 6923:: 6906:. 6884:. 6863:. 6840:. 6821:. 6809:: 6787:. 6768:. 6747:. 6728:. 6709:. 6687:. 6661:. 6636:. 6616:: 6593:. 6574:. 6555:. 6543:: 6521:. 6481:. 6462:. 6458:: 6442:" 6427:. 6415:: 6393:. 6363:. 6344:. 6325:. 6306:. 6284:. 6261:. 6240:. 6216:. 6204:: 6182:. 6152:: 6129:. 6110:. 6098:: 6092:6 6079:. 6060:. 6041:. 6019:. 6000:. 5977:. 5956:. 5936:. 5916:. 5904:: 5898:9 5877:. 5852:. 5827:. 5814:" 5798:. 5774:. 4460:. 2948:. 2912:. 2687:. 2415:. 2398:. 2350:. 2305:. 2197:. 2183:. 2158:/ 2155:l 2152:ɛ 2149:v 2146:ˈ 2143:æ 2140:r 2137:, 2134:l 2131:ɛ 2128:v 2125:ˈ 2122:ə 2119:r 2116:/ 1906:. 34:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index