1272:, who had lost his right arm during the First World War. Ravel was stimulated by the technical challenges of the project: "In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands." Ravel, not proficient enough to perform the work with only his left hand, demonstrated it with both hands. Wittgenstein was initially disappointed by the piece, but after long study he became fascinated by it and ranked it as a great work. In January 1932 he premiered it in Vienna to instant acclaim, and performed it in Paris with Ravel conducting the following year. The critic Henry Prunières wrote, "From the opening measures, we are plunged into a world in which Ravel has but rarely introduced us."
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1073:, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet." Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of
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1392:'s catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera and song cycles. He wrote no symphonies or church works.
910:. Fokine had a reputation for his modern approach to dance, with individual numbers replaced by continuous music. This appealed to Ravel, and after discussing the action in great detail with Fokine, Ravel began composing the music. There were frequent disagreements between the collaborators, and the premiere was under-rehearsed because of the late completion of the work. It had an unenthusiastic reception and was quickly withdrawn, although it was revived successfully a year later in Monte Carlo and London. The effort to complete the ballet took its toll on Ravel's health;
183:, a trait inherited by her elder son. He was baptised in the Ciboure parish church six days after he was born. The family moved to Paris three months later, and there a younger son, Édouard, was born. (He was close to his father, whom he eventually followed into the engineering profession.) Maurice was particularly devoted to their mother; her Basque-Spanish heritage was a strong influence on his life and music. Among his earliest memories were folk songs she sang to him. The household was not rich, but the family was comfortable, and the two boys had happy childhoods.
1244:... a piece lasting seventeen minutes and consisting wholly of orchestral tissue without music". Ravel continued that the work was "one long, very gradual crescendo. There are no contrasts, and there is practically no invention except the plan and the manner of the execution. The themes are altogether impersonal." He was astonished, and not wholly pleased, that it became a mass success. When one elderly member of the audience at the Opéra shouted "Rubbish!" at the premiere, he remarked, "That old lady got the message!" The work was popularised by the conductor
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2031:. Ravel was among the first composers who recognised the potential of recording to bring their music to a wider public, and throughout the 1920s there was a steady stream of recordings of his works, some of which featured the composer as pianist or conductor. A 1932 recording of the G major Piano Concerto was advertised as "Conducted by the composer", although he had in fact supervised the sessions while a more proficient conductor took the baton. Recordings for which Ravel actually was the conductor included a
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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
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1971:. Ravel also worked at unusual speed on the Piano Trio (1914) to complete it before joining the French Army. It contains Basque, Baroque and far Eastern influences, and shows Ravel's growing technical skill, dealing with the difficulties of balancing the percussive piano with the sustained sound of the violin and cello, "blending the two disparate elements in a musical language that is unmistakably his own," in the words of the commentator Keith Anderson.
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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
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1986:. The Violin and Cello Sonata is a departure from the rich textures and harmonies of the pre-war Piano Trio: the composer said that it marked a turning point in his career, with thinness of texture pushed to the extreme and harmonic charm renounced in favour of pure melody. His last chamber work, the Violin Sonata (sometimes called the Second after the posthumous publication of his student sonata), is a frequently
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was more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship. Ravel wrote that
Debussy's "genius was obviously one of great individuality, creating its own laws, constantly in evolution, expressing itself freely, yet always faithful to French tradition. For Debussy, the musician and the man, I have had profound admiration, but by nature I am different from Debussy
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benign view of Les Six, promoting their music, and defending it against journalistic attacks. He regarded their reaction against his works as natural, and preferable to their copying his style. Through the Société Musicale Indépendente, he was able to encourage them and composers from other countries. The Société presented concerts of recent works by
American composers including
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1779:, Ravel frequently divides his upper strings, having them play in six to eight parts while the woodwind are required to play with extreme agility. His writing for the brass ranges from softly muted to triple-forte outbursts at climactic points. In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of
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1598:(premiered in 1911), described as a "comédie musicale". It is among the works set in or illustrating Spain that Ravel wrote throughout his career. Nichols comments that the essential Spanish colouring gave Ravel a reason for virtuoso use of the modern orchestra, which the composer considered "perfectly designed for underlining and exaggerating comic effects".
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after the death of
Debussy in 1918, he was generally seen, in France and abroad, as the leading French composer of the era. Fauré wrote to him, "I am happier than you can imagine about the solid position which you occupy and which you have acquired so brilliantly and so rapidly. It is a source of joy and pride for your old professor." Ravel was offered the
1505:, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.
299:, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student. Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist
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French composers to ignore systematically the productions of their foreign colleagues, and thus form themselves into a sort of national coterie: our musical art, which is so rich at the present time, would soon degenerate, becoming isolated in banal formulas." The league responded by banning Ravel's music from its concerts.
1183:. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.
476:("The Hooligans"), a name coined by Viñes to represent their status as "artistic outcasts". They met regularly until the beginning of the First World War, and members stimulated one another with intellectual argument and performances of their works. The membership of the group was fluid, and at various times included
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dilatation that surgery might prevent from progressing. Ravel's brother
Edouard accepted this advice; as Henson comments, the patient was in no state to express a considered view. After the operation there seemed to be an improvement in his condition, but it was short-lived, and he soon lapsed into a
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is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in
Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from
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After the war, those close to Ravel recognised that he had lost much of his physical and mental stamina. As the musicologist
Stephen Zank puts it, "Ravel's emotional equilibrium, so hard won in the previous decade, had been seriously compromised." His output, never large, became smaller. Nonetheless,
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choir, setting his own texts in the tradition of French 16th-century chansons. He dedicated the three songs to people who might help him to enlist. After several unsuccessful attempts to enlist, Ravel finally joined the
Thirteenth Artillery Regiment as a lorry driver in March 1915, when he was forty.
772:. Ravel, together with several other former pupils of Fauré, set up a new, modernist organisation, the Société Musicale Indépendente, with Fauré as its president. The new society's inaugural concert took place on 20 April 1910; the seven items on the programme included premieres of Fauré's song cycle
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was one, and records that Ravel was a very demanding teacher when he thought his pupil had talent. Like his own teacher, Fauré, he was concerned that his pupils should find their own individual voices and not be excessively influenced by established masters. He warned
Rosenthal that it was impossible
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A slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas and eight song cycles; he wrote no symphonies or church music. Many of his works exist
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Joseph's family is described in some sources as French and in others as Swiss; Versoix is in present-day (2015) Switzerland, but as the historian
Philippe Morant observes, the nationality of families from the area changed several times over the generations as borders were moved; Joseph held a French
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work. Ravel said that the violin and piano are "essentially incompatible" instruments, and that his Sonata reveals their incompatibility. Sackville-West and Shawe-Taylor consider the post-war sonatas "rather laboured and unsatisfactory", and neither work has matched the popularity of Ravel's pre-war
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Most of Ravel's piano music is extremely difficult to play, and presents pianists with a balance of technical and artistic challenges. Writing of the piano music the critic Andrew Clark commented in 2013, "A successful Ravel interpretation is a finely balanced thing. It involves subtle musicianship,
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The two composers ceased to be on friendly terms in the middle of the first decade of the 1900s, for musical and possibly personal reasons. Their admirers began to form factions, with adherents of one composer denigrating the other. Disputes arose about the chronology of the composers' works and who
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Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs
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He never made clear his reason for refusing it. Several theories have been put forward. Rosenthal believed that it was because so many had died in a war in which Ravel had not actually fought. Another suggestion is that Ravel felt betrayed because despite his wishes his ailing mother had been told
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predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. Kelly remarks on its "dazzling array of instrumental colour", and a contemporary reviewer commented on how, in dealing with another composer's music, Ravel had produced an orchestral sound wholly
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composer – a label he intensely disliked. Many music lovers began to apply the same term to Ravel, and the works of the two composers were frequently taken as part of a single genre. Ravel thought that
Debussy was indeed an Impressionist but that he himself was not. Orenstein comments that Debussy
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and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early
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From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in
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In his later years, Edouard Ravel declared his intention to leave the bulk of the composer's estate to the city of Paris for the endowment of a Nobel Prize in music, but evidently changed his mind. After his death in 1960, the estate passed through several hands. Despite the substantial royalties
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of much of the work upset many Parisian opera-goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work". The score presents an impression of simplicity, disguising intricate links
214:. Without being anything of a child prodigy, he was a highly musical boy. Charles-René found that Ravel's conception of music was natural to him "and not, as in the case of so many others, the result of effort". Ravel's earliest known compositions date from this period: variations on a chorale by
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was completed a year later. After the premiere in January 1932 there was high praise for the soloist, Marguerite Long, and for Ravel's score, though not for his conducting. Long, the dedicatee, played the concerto in more than twenty European cities, with the composer conducting; they planned to
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in New York, the entire audience stood up and applauded as the composer took his seat. Ravel was touched by this spontaneous gesture and observed, "You know, this doesn't happen to me in Paris." Orenstein, commenting that this tour marked the zenith of Ravel's international reputation, lists its
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dating from 1899, unpublished in the composer's lifetime, Ravel wrote seven chamber works. The earliest is the String Quartet (1902–03), dedicated to Fauré, and showing the influence of Debussy's quartet of ten years earlier. Like the Debussy, it differs from the more monumental quartets of the
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as an establishment figure. Satie had turned against him, and commented, "Ravel refuses the Légion d'honneur, but all his music accepts it." Despite this attack, Ravel continued to admire Satie's early music, and always acknowledged the older man's influence on his own development. Ravel took a
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During the war the Ligue Nationale pour la Defense de la Musique Française was formed by Saint-Saëns, Dubois, d'Indy and others, campaigning for a ban on the performance of contemporary German music. Ravel declined to join, telling the committee of the league in 1916, "It would be dangerous for
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By the latter part of the 1900s Ravel had established a pattern of writing works for piano and subsequently arranging them for full orchestra. He was in general a slow and painstaking worker, and reworking his earlier piano compositions enabled him to increase the number of pieces published and
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A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style",
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Ravel senior delighted in taking his sons to factories to see the latest mechanical devices, but he also had a keen interest in music and culture in general. In later life, Ravel recalled, "Throughout my childhood I was sensitive to music. My father, much better educated in this art than most
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Ravel wrote to a friend, "I have to tell you that the last week has been insane: preparing a ballet libretto for the next Russian season. working up to 3 a.m. almost every night. To confuse matters, Fokine does not know a word of French, and I can only curse in Russian. Irrespective of the
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found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage". Some find the
1837:(1901), is frequently cited as evidence that he evolved his style independently of Debussy, whose major works for piano all came later. When writing for solo piano, Ravel rarely aimed at the intimate chamber effect characteristic of Debussy, but sought a Lisztian virtuosity. The authors of
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have all recorded that Ravel frequented brothels; Long attributed this to his self-consciousness about his diminutive stature, and consequent lack of confidence with women. By other accounts, none of them first-hand, Ravel was in love with Misia Edwards, or wanted to marry the violinist
2464:. Edouard Ravel said that his brother refused the award because it had been announced without the recipient's prior acceptance. Many biographers believe that Ravel's experience during the Prix de Rome scandal convinced him that state institutions were inimical to progressive artists.
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Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle,
2619:, "This bloody opening! I feel I've tried every possible fingering and nothing works. In desperation, I divide the notes of the first bar between my two hands rather than playing them with just one, and suddenly I see a way forward. But now I need a third hand for the melody."
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Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public. From the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works; others were made under his supervision.
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in 1988 the neurologist R. A. Henson concludes that it may have exacerbated an existing cerebral condition. As early as 1927 close friends had been concerned at Ravel's growing absent-mindedness, and within a year of the accident he started to experience symptoms suggesting
381:, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".
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asked him for lessons in the 1920s, Ravel, after serious consideration, refused, on the grounds that they "would probably cause him to write bad Ravel and lose his great gift of melody and spontaneity". The best-known composer who studied with Ravel was probably
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overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted
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Ravel was fascinated by the dynamism of American life, its huge cities, skyscrapers, and its advanced technology, and was impressed by its jazz, Negro spirituals, and the excellence of American orchestras. American cuisine was apparently another matter.
823:– would be badly received by the ultra-respectable mothers and daughters who were an important part of the Opéra-Comique's audience. The piece was only modestly successful at its first production, and it was not until the 1920s that it became popular.
54:; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of
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During his lifetime it was above all as a master of orchestration that Ravel was famous. He minutely studied the ability of each orchestral instrument to determine its potential, putting its individual colour and timbre to maximum use. The critic
1219:. Ravel was unmoved by his new international celebrity. He commented that the critics' recent enthusiasm was of no more importance than their earlier judgment, when they called him "the most perfect example of insensitivity and lack of emotion".
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After Ravel's death, his brother and legatee, Edouard, turned the composer's house at Montfort-l'Amaury into a museum, leaving it substantially as Ravel had known it. As at 2023 the maison-musée de Maurice Ravel remains open for guided tours.
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Ravel's first concert outside France was in 1909. As the guest of the Vaughan Williamses, he visited London, where he played for the Société des Concerts Français, gaining favourable reviews and enhancing his growing international reputation.
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1616:(1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto. It is more uncompromisingly modern in its musical style than
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understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days:
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The musicologist David Lamaze has suggested that Ravel felt a long-lasting romantic attraction to Misia, and posits that her name is incorporated in Ravel's music in the recurring pattern of the notes E, B, A – "Mi, Si, La" in French
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but had grown up in Madrid. In 19th-century terms, Joseph had married beneath his status – Marie was illegitimate and barely literate – but the marriage was a happy one. Some of Joseph's inventions were successful, including an early
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1912:. Too much temperament, and the music loses its classical shape; too little, and it sounds pale." This balance caused a breach between the composer and Viñes, who said that if he observed the nuances and speeds Ravel stipulated in
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1348:. Though no longer able to write music or perform, Ravel remained physically and socially active until his last months. Henson notes that Ravel preserved most or all his auditory imagery and could still hear music in his head.
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all incorporate elements of the named composers interpreted in a characteristically Ravellian manner. Clark comments that those piano works which Ravel later orchestrated are overshadowed by the revised versions: "Listen to
619:. He was eliminated in the first round, which even critics unsympathetic to his music, including Lalo, denounced as unjustifiable. The press's indignation grew when it emerged that the senior professor at the Conservatoire,
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Among the enthusiasms of the Apaches was the music of Debussy. Ravel, twelve years his junior, had known Debussy slightly since the 1890s, and their friendship, though never close, continued for more than ten years. In 1902
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Ravel's mother died in January 1917, and he fell into a "horrible despair", compounding the distress he felt at the suffering endured by the people of his country during the war. He composed few works in the war years. The
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cigarettes. He appeared with most of the leading orchestras in Canada and the US and visited twenty-five cities. Audiences were enthusiastic and the critics were complimentary. At an all-Ravel programme conducted by
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names Diaghilev as the challenger, and Gerald Larner names Ravel. No duel took place, and no such incident is mentioned in the biographies by Orenstein or Nichols, though both record that the breach was total and
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performed. There appears to have been no mercenary motive for this; Ravel was known for his indifference to financial matters. The pieces that began as piano compositions and were then given orchestral dress were
421:, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.
1415:, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
2481:. Poulenc told a friend that he was delighted not to see Satie any more: "I admire him as ever, but breathe a sigh of relief at finally not having to listen to his eternal ramblings on the subject of Ravel
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for violin and piano (1924) and finally the Violin Sonata (1923–27). The two middle works are respectively an affectionate tribute to Ravel's teacher, and a virtuoso display piece for the violinist
640:, for which Lalo wrote. Edwards was married to Ravel's friend Misia; the couple took Ravel on a seven-week Rhine cruise on their yacht in June and July 1905, the first time he had travelled abroad.
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comment that in the slow movement, "one of the most beautiful tunes Ravel ever invented", the composer "can truly be said to join hands with Mozart". The most popular of Ravel's orchestral works,
1647:(1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles
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Vaughan Williams's recollections throw some light on Ravel's private life, about which the latter's reserved and secretive personality has led to much speculation. Vaughan Williams, Rosenthal and
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amateurs are, knew how to develop my taste and to stimulate my enthusiasm at an early age." There is no record that Ravel received any formal general schooling in his early years; his biographer
615:, the judges suspected Ravel of making fun of them by submitting cantatas so academic as to seem like parodies. In 1905 Ravel, by now thirty, competed for the last time, inadvertently causing a
399:. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity
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1797:(1928), was conceived several years before its completion; in 1924 he said that he was contemplating "a symphonic poem without a subject, where the whole interest will be in the rhythm".
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became a national scandal, leading to the early retirement of Dubois and his replacement by Fauré, appointed by the government to carry out a radical reorganisation of the Conservatoire.
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The public premiere was the scene of a near-riot, with factions of the audience for and against the work, but the music rapidly entered the repertory in the theatre and the concert hall.
229:, who became not only a lifelong friend, but also one of the foremost interpreters of his works, and an important link between Ravel and Spanish music. The two shared an appreciation of
979:. He considered his small stature and light weight ideal for an aviator, but was rejected because of his age and a minor heart complaint. While waiting to be enlisted, Ravel composed
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was prominent among those who detested the piece. The Apaches were loud in their support. The first run of the opera consisted of fourteen performances: Ravel attended all of them.
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Although Ravel wrote fewer than thirty works for the piano, they exemplify his range; Orenstein remarks that the composer keeps his personal touch "from the striking simplicity of
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Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed
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After two months of planning, Ravel made a four-month tour of North America in 1928, playing and conducting. His fee was a guaranteed minimum of $ 10,000 and a constant supply of
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and Debussy. In 1900 Ravel was eliminated in the first round; in 1901 he won the second prize for the competition. In 1902 and 1903 he won nothing: according to the musicologist
441:. Over the succeeding decades Lalo became Ravel's most implacable critic. In 1899 Ravel composed his first piece to become widely known, though it made little impact initially:
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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
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547:(both 1903). Commentators have noted some Debussian touches in some parts of these works. Nichols calls the quartet "at once homage to and exorcism of Debussy's influence".
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wrote, "Mr. Ravel has pursued his way as an artist quietly and very well. He has disdained superficial or meretricious effects. He has been his own most unsparing critic."
740:. Rosenthal records and discounts contemporary speculation that Ravel, a lifelong bachelor, may have been homosexual. Such speculation recurred in a 2000 life of Ravel by
870:... the effect of mirage, by which something quite real seems to float on nothing". New York audiences heard the work in the same year. Ravel's second ballet of 1912 was
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and Manuel Rosenthal helped in transcription. Ravel composed no more after this. The exact nature of his illness is unknown. Experts have ruled out the possibility of a
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established French school of Franck and his followers, with more succinct melodies, fluently interchanged, in flexible tempos and varieties of instrumental colour. The
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prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in
2651:." Ravel himself admonished Marguerite Long, "You should not interpret my music: you should realise it." ("Il ne faut pas interpreter ma music, il faut le réaliser.")
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reported in 2001 that no money from royalties had been forthcoming for the maintenance of the Ravel museum at Montfort-l'Amaury, which was in a poor state of repair.
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When he was a boy his mother had occasionally had to bribe him to do his piano exercises, and throughout his life colleagues commented on his aversion to practice.
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1481:. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to
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Amaducci, L; E Grassi; F Boller (January 2002). "Maurice Ravel and right-hemisphere musical creativity: influence of disease on his last musical works?".
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Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently
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and, in the Debussy work, Ravel. Kelly considers it a sign of Ravel's new influence that the society featured Satie's music in a concert in January 1911.
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took over as Ravel's piano teacher in 1889; in the same year Ravel gave his earliest public performance. Aged fourteen, he took part in a concert at the
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Around 1900 Ravel and a number of innovative young artists, poets, critics and musicians joined together in an informal group; they came to be known as
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2375:, whom together with Vaughan Williams and Rosenthal he dubbed his "School of Montfort", Others who took some lessons with him included the trombonist
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According to some sources, when Diaghilev encountered him in 1925, Ravel refused to shake his hand, and one of the two men challenged the other to a
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720:, who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner
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Fauré also retained the presidency of the rival Société Nationale, retaining the affection and respect of members of both bodies, including d'Indy.
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His final years were cruel, for he was gradually losing his memory and some of his coordinating powers, and he was, of course, quite aware of it.
1701:
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
623:, 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.
5827:
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Orenstein (1991), pp. 64 (Satie), 123 (Mozart and Schubert), 124 (Chopin and Liszt), 136 (Russians), 155 (Debussy) and 218 (Couperin and Rameau)
2195:
Students who failed in three consecutive years to win a competitive medal were automatically expelled ("faute de récompense") from their course.
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5666:
411:, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture
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1172:
Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of
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In October 1932 Ravel suffered a blow to the head in a taxi accident. The injury was not thought serious at the time, but in a study for the
47:, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.
888:
opened at the same theatre in June. This was his largest-scale orchestral work, and took him immense trouble and several years to complete.
459:
the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter". He dressed like a
8165:
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called the score "absolutely ravishing, a masterwork in miniature". The music rapidly entered the concert repertoire; it was played at the
768:, founded in 1871 to promote the music of rising French composers, had been dominated since the mid-1880s by a conservative faction led by
169:
6035:
Fulcher, Jane F. (2001). "Speaking the Truth to Power: The Dialogic Element in Debussy's Wartime Compositions". In Jane F. Fulcher (ed.).
1916:, "Le gibet" would "bore the audience to death". Some pianists continue to attract criticism for over-interpreting Ravel's piano writing.
502:. It divided musical opinion. Dubois unavailingly forbade Conservatoire students to attend, and the conductor's friend and former teacher
8075:
2043:
Ravel declined not only the Légion d'honneur, but all state honours from France, refusing to let his name go forward for election to the
563:, contributed to a modest regular income for the deserted Lilly Debussy, a fact that Nichols suggests may have rankled with her husband.
403:... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director,
5354:"Wrestling with Ravel : How do you get your fingers – and brain – round one of the most difficult pieces in the piano repertoire?"
2917:
2303:
Ravel later came to the view that "Impressionism" was not a suitable term for any music, and was essentially relevant only to painting.
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947:. Stravinsky later said that Ravel was the only person who immediately understood the music. Ravel predicted that the premiere of the
330:, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musicologist
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published an article suggesting that the early effects of frontotemporal dementia in 1928 might account for the repetitive nature of
1628:
Although one-act operas are generally staged less often than full-length ones, Ravel's are produced regularly in France and abroad.
1603:
characters artificial and the piece lacking in humanity. The critic David Murray writes that the score "glows with the famous Ravel
395:
In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with
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Ravel admitted in 1926 that he had submitted at least one piece deliberately parodying the required conventional form: the cantata
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During the first years of the new century Ravel made five attempts to win France's most prestigious prize for young composers, the
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The year in which the work was commissioned is generally thought to be 1909, although Ravel recalled it as being as early as 1907.
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to learn from studying Debussy's music: "Only Debussy could have written it and made it sound like only Debussy can sound." When
1901:
a feeling for pianistic colour and the sort of lightly worn virtuosity that masks the advanced technical challenges he makes in
1027:
in 1920, and although he declined the decoration, he was viewed by the new generation of composers typified by Satie's protégés
8090:
8070:
7755:
7607:
5994:
Donnellon, Deirdre (2003). "French Music since Berlioz: Issues and Debates". In Richard Langham Smith; Caroline Potter (eds.).
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1591:. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it.
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International Academy of Music from Saint-Jean-de-Luz: Académie internationale de Musique Maurice Ravel de Saint-Jean-de-Luz
8175:
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7398:
4000:
2643:... Ravel's writing is so minutely calculated and carefully defined that he leaves interpreters little room for manoeuvre;
2561:
It was a matter for affectionate debate among Ravel's friends and colleagues whether he was worse at conducting or playing.
2007:, a better pianist. Transfers of the rolls have been released on compact disc. In 1913 there was a gramophone recording of
407:, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow student,
1355:, a well-known Paris neurosurgeon. Vincent advised surgical treatment. He thought a tumour unlikely, and expected to find
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Satie was known for turning against friends. In 1917, using obscene language, he inveighed against Ravel to the teenaged
1975:
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2239:, who came to be an admirer of Ravel. Ravel came to share his poor view of the overture, calling it "a clumsy botch-up".
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1967:
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Ravel was not by inclination a teacher, but he gave lessons to a few young musicians he felt could benefit from them.
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8160:
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1962:
1729:
For all Ravel's orchestral mastery, only four of his works were conceived as concert works for symphony orchestra:
1625:
between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".
464:
years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven.
7487:
5558:, Discography search, AHRC Research Centre for the History and Analysis of Recorded Music, retrieved 15 March 2015
2639:... deserves to be on that list too, but his phrasing is so indulgent that in the end it cannot be taken seriously
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2003:
between 1914 and 1928, although some rolls supposedly played by him may have been made under his supervision by
1655:, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.
1849:
have a beauty and originality with a deeper inspiration "in the harmonic and melodic genius of Ravel himself".
1575:
occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a
672:
291:
With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the
6929:
Perret, Carine (2003). "L'adoption du jazz par Darius Milhaud et Maurice Ravel: L'esprit plus que la lettre".
6549:
Marnat, Marcel (1986). "Catalogue chronologique de tous les travaux musicaux ébauchés ou terminés par Ravel".
5409:
8125:
7801:
7787:
7236:
Woldu, Gail Hilson (1996). "Au-delà du scandale de 1905: Propos sur le Prix de Rome au début du XXe siècle".
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246:
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the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were
433:... who will perhaps become something if not someone in about ten years, if he works hard". Another critic,
39:(7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with
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8105:
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5353:
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1978:(1920–22), the "Berceuse sur le nom de Gabriel Fauré" for violin and piano (1922), the chamber original of
1014:, the 18th-century French composer; each movement is dedicated to a friend of Ravel's who died in the war.
737:
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5032:
2396:
Ravel, known for his gourmet tastes, developed an unexpected enthusiasm for English cooking, particularly
1800:
Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite
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1957:
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879:
80:, Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of
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2052:
2048:
1772:, critics have found the later orchestral version less persuasive than the sharp-edged piano original.
1658:
Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as
161:
7495:
5774:
2035:
in 1930, and a sound film of a 1933 performance of the D major concerto with Wittgenstein as soloist.
1420:
Whatever sauce you put around the melody is a matter of taste. What is important is the melodic line.
1143:. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite
7314:
7107:
Strasser, Michael (Spring 2001). "The Société Nationale and its Adversaries: The Musical Politics of
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4431:
2660:
Other composers who made recordings of their music during the early years of the gramophone included
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Many works have been dedicated to Ravel or composed in his memory, by Satie, Stravinsky and others.
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2612:
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in two versions: first, a piano score and later an orchestration. Some of his piano music, such as
6762:
Nichols, Roger; Deborah Mawer (2000). "Early reception of Ravel's music". In Deborah Mawer (ed.).
6422:
1965:(1905) was composed very quickly by Ravel's standards. It is an ethereal piece in the vein of the
1399:
to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart,
941:. In 1913, together with Debussy, Ravel was among the musicians present at the dress rehearsal of
842:
In 1912 Ravel had three ballets premiered. The first, to the orchestrated and expanded version of
815:
was premiered in 1911. The work had been completed in 1907, but the manager of the Opéra-Comique,
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and the two concertos. All the other orchestral works were written either for the stage, as in
1599:
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1104:
was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score
981:
744:; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery.
717:
699:
688:
540:
521:
437:, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate
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242:
40:
20:
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1711:
1280:
record it together, but at the sessions Ravel confined himself to supervising proceedings and
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was almost complete when the conflict began, and the most substantial of his wartime works is
917:
Ravel composed little during 1913. He collaborated with Stravinsky on a performing version of
774:
503:
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7018:
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1784:
1131:'s abandonment of conventional tonality also had echoes in some of Ravel's music such as the
535:
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63:
2358:) "If you study with me you'll only write second-rate Ravel instead of first-rate Gershwin."
1092:
In the post-war era there was a reaction against the large-scale music of composers such as
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and the Piano Concerto for the Left Hand both suggest the impacts of neurological disease.
1983:
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76:(1928), in which repetition takes the place of development. Renowned for his abilities in
8:
7825:
7142:
7061:
6655:
6479:
4851:
1688:, to be sung by a woman, although a tenor voice is a permitted alternative in the score.
1264:
At the beginning of the 1930s Ravel was working on two piano concertos. He completed the
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7479:
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1717:
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666:
533:." During the first years of the new century Ravel's new works included the piano piece
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reported in 2000 that it was unclear who the beneficiaries were. The British newspaper
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passport, but Ravel preferred to say simply that his paternal ancestors came from the
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6220:
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6073:
Goddard, Scott (October 1925). "Maurice Ravel: Some Notes on His Orchestral Method".
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incorporated elements of it in their work. Ravel commented that he preferred jazz to
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769:
636:
199:
100:(1908), is exceptionally difficult to play, and his complex orchestral works such as
55:
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1945:
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268:
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6401:
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2884:
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2004:
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620:
577:
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331:
7992:
7213:
Whitesell, Lloyd (2002). "Ravel's Way". In Sophie Fuller; Lloyd Whitesell (eds.).
5571:, The Oxford Dictionary of Music, Oxford University Press, retrieved 6 April 2015
2870:
2718:
1537:
Ravel completed two operas, and worked on three others. The unrealised three were
1077:
was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of
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396:
388:
384:
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335:
327:
226:
50:
Born to a music-loving family, Ravel attended France's premier music college, the
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1249:
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732:
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300:
176:
1680:
and Verlaine. For three songs dating from 1914 to 1915, he wrote his own texts.
1371:
On 30 December 1937 Ravel was interred next to his parents in a granite tomb at
1211:
non-musical highlights as a visit to Poe's house in New York, and excursions to
816:
451:
for a dead princess"). It was originally a solo piano work, commissioned by the
222:
and a single movement of a piano sonata. They survive only in fragmentary form.
7722:
7565:
6974:
6878:
6287:. Margaret Crosland (trans). New York and London: Grove Press and John Calder.
6013:
2762:
2633:
2368:
2271:
2183:
1809:
1584:
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themes. He wrote several short pieces paying tribute to composers he admired –
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1435:
1352:
1227:
1120:
1041:
1037:
899:
803:
513:
363:
258:
44:
7126:
6142:
5971:
De Voto, Mark (2000). "Harmony in the chamber music". In Deborah Mawer (ed.).
2602:
credits Saint-Saëns with 169 works, Fauré with 121 works and Debussy with 182.
1375:, in north-west Paris. He was an atheist and there was no religious ceremony.
1230:'s ballet company, and having been unable to secure the rights to orchestrate
1180:
695:
529:... I think I have always personally followed a direction opposed to that of
272:
211:
147:, was an educated and successful engineer, inventor and manufacturer, born in
8039:
7921:
7134:
7034:
7010:
6614:
6606:
6448:
6387:
6292:
5942:
5922:
2826:
2814:
2790:
2478:
2012:
1466:
1389:
1329:
1317:
1212:
1177:
1093:
1033:
963:
923:
903:
846:, opened at the Théâtre des Arts in January. The reviews were excellent: the
830:
820:
741:
612:
556:
354:
280:
276:
165:
156:
127:
Joseph Ravel (1875), Marie Delouart (1870) and Maurice Ravel aged four (1879)
77:
59:
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6257:
6194:
4826:
1919:
Ravel's regard for his predecessors is heard in several of his piano works;
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7933:
6405:
6115:
5902:
2669:
2075:
1513:
1439:
1431:
1412:
1351:
In 1937 Ravel began to suffer pain from his condition, and was examined by
1216:
911:
819:, repeatedly deferred its presentation. He was concerned that its plot – a
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678:
650:
592:
257:. This music had a lasting effect on both Ravel and his older contemporary
207:
180:
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310:
7852:
7383:
6088:
2536:
2461:
2355:
2287:
1588:
1478:
1137:(1926), which Ravel doubted he could have written without the example of
1124:
1049:
968:
552:
473:
434:
6849:
6722:
Nichols, Roger (2000). "Ravel and the critics". In Deborah Mawer (ed.).
6379:
6319:
Kelly, Barbara L. (2000). "History and Homage". In Deborah Mawer (ed.).
6150:
5100:, Oxford Music Online, Oxford University Press, retrieved 14 March 2015
5046:, Oxford Music Online, Oxford University Press, retrieved 14 March 2015
4445:, Oxford Music Online, Oxford University Press, retrieved 11 March 2015
1010:, composed between 1914 and 1917. The suite celebrates the tradition of
164:
and a notorious circus machine, the "Whirlwind of Death", an automotive
7846:
7840:
6947:
5586:, Volume I, pp. 60, 183, 159 and 219; and Orenstein (2003), pp. 534–535
3848:
Nichols (1987), pp. 70 (Vaughan Williams), 36 (Rosenthal) and 32 (Long)
2786:
2734:
2686:
2376:
2000:
1892:
1813:
1621:
1408:
1045:
994:
in September 1916, and had frostbite in his feet the following winter.
986:
918:
378:
353:"Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by
238:
195:
81:
70:. He liked to experiment with musical form, as in his best-known work,
7653:
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
7266:
6921:
6807:
6541:
6413:
6357:
Kilpatrick, Emily (2009). "The Carbonne Copy: Tracing the première of
6202:
6096:
2336:
1974:
Ravel's four chamber works composed after the First World War are the
1240:, he decided on "an experiment in a very special and limited direction
1231:
856:, London, within weeks of the Paris premiere, and was repeated at the
345:
6210:
5134:
4874:
3935:
1987:
1963:
Introduction and Allegro for harp, flute, clarinet and string quartet
1395:
Ravel drew on many generations of French composers from Couperin and
1226:, became his most famous. He was commissioned to provide a score for
1202:
1116:
1106:
862:
756:
509:
438:
28:
7537:
6056:
The Composer as Intellectual: Music and Ideology in France 1914–1940
5322:
Orenstein (1981), p. 32; and Sackville-West and Shawe-Taylor, p. 613
1999:
Ravel's interpretations of some of his piano works were captured on
1793:
826:
191:
suggests that the boy may have been chiefly educated by his father.
123:
72:
7551:
7258:
6913:
6533:
6340:
Music and Ultra-modernism In France: A Fragile Consensus, 1913–1939
2549:
2069:
2047:. He accepted foreign awards, including honorary membership of the
1462:
1400:
1321:
1119:. Jazz was popular in Parisian cafés, and French composers such as
1069:
608:
215:
140:
8026:
7017:
3458:
Pasler, p. 403; Nichols (1977), p. 20; and Orenstein (1991), p. 28
3440:
Nichols, pp. 57 and 106; and Lesure and Nectoux, pp. 15, 16 and 28
2354:
in 1945, in which Ravel (played by Oscar Loraine) tells Gershwin (
1363:
1248:, and has been recorded several hundred times. Ravel commented to
951:
would be seen as an event of historic importance equal to that of
573:
143:, 18 kilometres (11 mi) from the Spanish border. His father,
7736:
7683:
7635:
7572:
7198:(second ed.). Berkeley, US: University of California Press.
5221:
Sackville-West and Shawe-Taylor, pp. 611–612; and Goddard, p. 292
2922:
2477:. By 1924 Satie had repudiated Poulenc and another former friend
1705:
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1482:
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1458:
1307:
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262:
203:
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136:
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translators, you can imagine the timbre of these conversations."
1783:
and Saint-Saëns, alongside use of jazz-like themes. The critics
1561:; he made sketches for it in 1898–99, but did not progress far.
303:
writes that for Ravel the 1890s were a period "of immense growth
2860:
2552:
listed more than 3,500 new or reissued recordings of the piece.
2312:
Literally "Games of water", sometimes translated as "Fountains"
2223:
1780:
1454:
1450:
1396:
1333:
1316:(1933), but he was unable to meet the production schedule, and
600:
448:
296:
230:
1434:, eschewing the familiar major or minor scales. Chords of the
933:
for soprano and chamber ensemble, and two short piano pieces,
371:(for four hands), the latter eventually incorporated into the
334:, he "was only teachable on his own terms". His later teacher
7951:
4073:
Orenstein (1991), p. 60; and "Return of the Russian Ballet",
3479:
Orledge, p. 65 (Dubois); and Donnellon, pp. 8–9 (Saint-Saëns)
2665:
2661:
2401:
1502:
1494:
1404:
1310:. Before the accident he had begun work on music for a film,
857:
604:
460:
219:
7940:
1948:, and the piano versions never sound quite the same again."
1411:, often using traditional structures and forms, such as the
1324:
and orchestra intended for the film; they were published as
975:
When Germany invaded France in 1914 Ravel tried to join the
5751:"David Diamond Papers, Music Division, Library of Congress"
2495:
2348:
This remark was modified by Hollywood writers for the film
2140:
2119:
2110:
1112:
914:
obliged him to rest for several months after the premiere.
630:
Among those taking a close interest in the controversy was
67:
7416:
Maurice Ravel's Friends Society: Les Amis de Maurice Ravel
7415:
7379:
7044:
Entrancing Muse: A Documented Biography of Francis Poulenc
5828:"Ohana, Maurice: 12 Etudes d'interpretation Vol.1 (piano)"
4589:
4587:
3161:
Orenstein (1991), pp. 11–12; and Nichols (2011), pp. 10–11
2222:
Respectively, "A great black sleep" and "Anne playing the
1708:
in the relationships of one orchestral group to another."
1583:. The third unrealised project was an operatic version of
1328:. The manuscript orchestral score is in Ravel's hand, but
377:. At around this time, Joseph Ravel introduced his son to
6474:
5853:"Doppelbauer, Josef Friedrich - Toccata und Fuge - organ"
2131:
1320:
wrote most of the score. Ravel completed three songs for
424:
In May 1897 Ravel conducted the first performance of the
234:
6900:
Pasler, Jann (June 1982). "Stravinsky and the Apaches".
5880:
4626:
Orenstein (1991), p. 99; and Nichols (2011), pp. 300–301
3003:
3001:
2248:
Ravel produced an orchestral version eleven years later.
2015:, and by the early 1920s there were discs featuring the
343:, for piano, and "Ballade de la Reine morte d'aimer", a
6213:(2000). "Ravel and the piano". In Deborah Mawer (ed.).
6125:"Maurice Ravel's Illness: A Tragedy of Lost Creativity"
4584:
3530:
1252:, one of Les Six, "I've written only one masterpiece –
555:. Ravel, together with his close friend and confidante
4274:
Kelly (2000), p. 9; Macdonald, p. 333; and Zank, p. 10
3897:, 27 April 1909, p. 8; and Nichols (2011), pp. 108–109
3729:
3727:
3612:, Oxford University Press, retrieved 27 February 2015
3219:
3146:
2584:, examining Ravel's clinical history and arguing that
1672:. Among the poets on whose lyrics he drew were Marot,
168:
that was a major attraction until a fatal accident at
7881:
6997:
4318:
4316:
2998:
2823:
No. 4 "Main gauche seule (in memoriam Maurice Ravel)"
2152:
2067:
paid for performing Ravel's music, the news magazine
6784:(October 1967). "Maurice Ravel's Creative Process".
6761:
5648:, Royal Philharmonic Society, retrieved 7 April 2015
4218:
Orenstein (2003), p. 180; and Nichols (2011), p. 187
2809:(also has been arranged for harp by Mario Falcao),
2143:
2137:
2128:
2122:
2116:
2107:
894:
was commissioned in or about 1909 by the impresario
809:
The first of Ravel's two operas, the one-act comedy
194:
When he was seven, Ravel started piano lessons with
7070:(2nd ed.). New York and London: W. W. Norton.
6747:. New Haven, US and London: Yale University Press.
5458:, Oxford University Press, retrieved 31 March 2015
5292:, Oxford University Press, retrieved 16 March 2015
4953:, Oxford University Press, retrieved 13 March 2015
4885:, Oxford University Press, retrieved 13 March 2015
4388:
Orenstein (1991), p. 78; and Nichols (2011), p. 210
3742:
Nichols (2011), pp. 26–30; and Pollack, pp. 119–120
3724:
2134:
2113:
1446:, are characteristic of Ravel's harmonic language.
1268:first. It was commissioned by the Austrian pianist
1222:The last composition Ravel completed in the 1920s,
1176:, 50 kilometres (31 mi) west of Paris, in the
1044:and by Vaughan Williams and his English colleagues
902:. Ravel began work with Diaghilev's choreographer,
8156:Honorary members of the Royal Philharmonic Society
7214:
6256:
4529:, Ville Montfort-l'Amaury, retrieved 11 March 2015
4313:
3404:
3303:Nichols (2011), p. 35; and Orenstein (1991), p. 26
6834:Orenstein, Arbie (Winter 1995). "Maurice Ravel".
1449:Dance forms appealed to Ravel, most famously the
1407:and Chopin. He considered himself in many ways a
1127:, and its influence is heard in his later music.
151:near the Franco-Swiss border. His mother, Marie,
8037:
7171:
6983:. Berkeley, US: University of California Press.
2085:
1775:In some of his scores from the 1920s, including
1360:coma. He died on 28 December, at the age of 62.
106:(1912) require skilful balance in performance.
6587:Morrison, Simon (Summer 2004). "The Origins of
6427:: The Realisation of an Inherited Aesthetic in
5027:
5025:
4781:"A Disease That Allowed Torrents of Creativity"
4028:Morrison, pp. 63–64; and Nichols (2011), p. 141
790:and the original piano duet version of Ravel's
349:setting a poem by Roland de Marès (both 1893).
275:along with other pupils of Decombes, including
249:in Paris in 1889, Ravel was much struck by the
202:; five years later, in 1887, he began studying
3553:
3551:
1517:Sketches of the cast for the 1911 premiere of
1089:were successfully revived at the Paris Opéra.
210:and composition with Charles-René, a pupil of
7436:
6390:(October 1939). "Maurice Ravel (1875–1937)".
6039:. Princeton, US: Princeton University Press.
5998:. Aldershot, UK and Burlington, US: Ashgate.
1063:, where Ravel lived from 1921 until his death
7221:. Urbana, US: University of Illinois Press.
7005:(in French). Paris and Geneva: La Palatine.
6518:(April 1975). "Ravel and the Prix de Rome".
6488:(in French). Paris: Bibliothèque nationale.
6277:
5343:Sackville-West and Shawe-Taylor, pp. 613–614
5022:
3884:Whitesell, p. 78; and Nichols (2011), p. 350
2055:in 1926, and an honorary doctorate from the
19:"Ravel" redirects here. For other uses, see
8066:20th-century French male classical pianists
7217:Queer Episodes in Music and Modern Identity
6630:Murray, David (1997) . "Maurice Ravel". In
5669:, Montfort l’Amaury, retrieved 7 April 2022
3548:
2831:Toccata and Fugue in memoriam Maurice Ravel
1266:Piano Concerto in D major for the Left Hand
322:In 1891 Ravel progressed to the classes of
7443:
7429:
6356:
5677:
5675:
4838:
4836:
3574:
3572:
2918:Longman Dictionary of Contemporary English
2325:, which he wrote for the 1901 competition.
1833:". Ravel's earliest major work for piano,
1579:which he incorporated into the opening of
751:
467:
261:, as did the exotic sound of the Javanese
7344:International Music Score Library Project
7212:
7177:R.V.W. – A Life of Ralph Vaughan Williams
7060:
6885:. Cambridge: Cambridge University Press.
6856:
6833:
6814:
6780:
6766:. Cambridge: Cambridge University Press.
6726:. Cambridge: Cambridge University Press.
6666:. Cambridge: Cambridge University Press.
6567:
6514:
6323:. Cambridge: Cambridge University Press.
6219:. Cambridge: Cambridge University Press.
6158:
5993:
5979:. Cambridge: Cambridge University Press.
5738:International Music Score Library Project
5368:
5366:
4739:
4737:
4735:
4340:Orenstein (1967), p. 479; and Zank, p. 11
3677:
3675:
3545:Orenstein (1991), p. 33; and James, p. 20
3104:
3102:
2599:Grove's Dictionary of Music and Musicians
2257:Ravel was 160 centimetres (5ft 3in) tall.
2023:, and movements from the String Quartet,
1256:. Unfortunately there's no music in it."
1081:followed in December. The following year
492:conducted the premiere of Debussy's opera
8136:French military personnel of World War I
7149:
7106:
7084:
6954:
6586:
6572:. Lanham, US: Rowman & Littlefield.
6386:
5949:
5929:
5909:
5535:
5533:
5330:
5328:
4601:
4599:
4409:
4407:
4405:
4403:
4261:
4259:
4257:
4247:
4245:
3100:
3098:
3096:
3094:
3092:
3090:
3088:
3086:
3084:
3082:
2367:Ravel's other students were principally
1710:
1512:
1362:
1054:
962:
825:
755:
694:
572:
508:
383:
309:
122:
27:
7391:Newspaper clippings about Maurice Ravel
7041:
6973:
6877:
6740:
6721:
6702:
6680:
6654:
6420:
6072:
6053:
6034:
5970:
5672:
5518:Sackville-West and Shawe-Taylor, p. 612
5505:
5503:
5334:Sackville-West and Shawe-Taylor, p. 613
5266:Sackville-West and Shawe-Taylor, p. 610
5239:Sackville-West and Shawe-Taylor, p. 611
4833:
4539:
4537:
4535:
4235:
4233:
4001:"New York Symphony in New Aeolian Hall"
3721:Sackville-West and Shawe-Taylor, p. 607
3569:
3466:
3464:
3427:
3425:
2689:'s four-hands arrangement for piano of
1944:in the classic recordings conducted by
1641:. The same technique is highlighted in
8038:
7196:Stravinsky: The Composer and his Works
6928:
6899:
6629:
6548:
6455:
6122:
6012:
5542:
5404:
5402:
5363:
4732:
3672:
3514:
3512:
3347:
3345:
3212:
3210:
3208:
3177:
3175:
3173:
3171:
3169:
3167:
2747:Piano Concerto for the Left Hand No. 2
2204:"Ballad of the queen who died of love"
1764:(originally for violin and piano) and
1610:The second opera, also in one act, is
566:
286:
8111:Neurological disease deaths in France
7625:Piano Concerto in D for the Left Hand
7424:
7235:
7193:
7157:. New York: Oxford University Press.
7092:. New York: Oxford University Press.
6337:
6318:
6299:
6254:
6209:
5956:. Pompton Plains, US: Amadeus Press.
5530:
5325:
4596:
4471:Orenstein (1991), pp. 84, 186 and 197
4400:
4379:Schonberg, p. 468; and Larner, p. 188
4254:
4242:
3819:Griffiths, Paul, and Anthony Burton.
3717:
3715:
3642:Hill, p. 134; and Duchen, pp. 149–150
3233:
3231:
3079:
3054:
3052:
2167:
2038:
1804:. Orchestral versions of the last by
1741:, or as a reworking of piano pieces,
1385:List of compositions by Maurice Ravel
295:. In November 1889, playing music by
233:, Russian music, and the writings of
8191:People with traumatic brain injuries
8101:Burials at Levallois-Perret Cemetery
7958:
7273:
7155:Music in the Early Twentieth Century
6502:from the original on 11 October 2015
6233:
6175:
6103:
5775:"American Harp Society Tape Library"
5569:"Gramophone (Phonograph) Recordings"
5500:
4915:Nichols (2011), pp. 291, 314 and 319
4532:
4230:
4155:
3461:
3422:
2803:Waltz "In Memoriam of Maurice Ravel"
1829:to the transcendental virtuosity of
1631:
866:praised "the enchantment of the work
265:, also heard during the Exposition.
225:In 1888 Ravel met the young pianist
8166:Jazz-influenced classical composers
6660:Gabriel Fauré – A Musical Life
6421:Lanford, Michael (September 2011).
6058:. Oxford: Oxford University Press.
5399:
5374:"All the best: Ravel's piano music"
4645:, WorldCat, retrieved 21 April 2015
3682:"Hidden clue to composer's passion"
3509:
3354:
3342:
3205:
3164:
2950:
2929:from the original on 7 October 2019
2647:takes a few liberties, so too does
2632:the critic Andrew Clements wrote, "
1908:... and the two outer movements of
1691:
307:... from adolescence to maturity".
13:
8076:19th-century French male musicians
7276:Maurice Ravel: A Guide to Research
7046:. Hillsdale, US: Pendragon Press.
6980:George Gershwin: His Life and Work
6957:Gabriel Fauré: A Guide to Research
6688:. Master Musicians. London: Dent.
5801:Sinfonia in memoriam Maurice Ravel
5799:"Donemus Webshop – Largo from the
4527:"La maison-musée de Maurice Ravel"
3821:"Tailleferre, Germaine (Marcelle)"
3712:
3633:Macdonald, p. 332; and Kelly, p. 8
3228:
3049:
2811:Sinfonia in memoriam Maurice Ravel
2685:Works dedicated to Ravel include:
2628:In a 2001 survey of recordings of
2578:. This followed a 2002 article in
1940:and the complete ballet music for
1854:
1594:Ravel's first completed opera was
113:
43:along with his elder contemporary
14:
8207:
7450:
7294:
6342:. Woodbridge, UK: Boydell Press.
6179:(January 1927). "Maurice Ravel".
6107:Bolero: The Life of Maurice Ravel
5915:Debussy and Ravel String Quartets
5098:The New Grove Dictionary of Opera
5044:The New Grove Dictionary of Opera
4974:Orenstein (1991), pp. 190 and 193
4865:"; Ratner, Sabina Teller, et al.
3893:"Société des Concerts Français",
2581:The European Journal of Neurology
2266:Other members were the composers
1660:Cinq mélodies populaires grecques
872:Adélaïde ou le langage des fleurs
794:. The performers included Fauré,
654:(1906, from the 1905 piano suite
595:, past winners of which included
520:Debussy was widely held to be an
484:as well as their French friends.
8081:20th-century classical composers
8061:19th-century classical composers
8018:
8001:
7984:
7967:
7939:
7927:
7915:
7903:
7891:
7866:
7865:
7360:
7067:The Lives of the Great Composers
6764:The Cambridge Companion to Ravel
6724:The Cambridge Companion to Ravel
6321:The Cambridge Companion to Ravel
6302:Gabriel Fauré: A Life in Letters
6216:The Cambridge Companion to Ravel
5973:The Cambridge Companion to Ravel
5895:10.1046/j.1468-1331.2002.00351.x
5845:
5820:
5791:
5767:
5743:
5727:
5699:
5660:
5651:
5632:
5623:
5614:
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5589:
5577:
5561:
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5426:
5390:
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5337:
5316:
5307:
5298:
5278:
5269:
5260:
5251:
5242:
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5215:
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5070:
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5004:
4995:
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4968:
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4939:
4930:
4918:
4909:
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4891:
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4815:
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4773:
4764:
4755:
4746:
4720:
4711:
4702:
4693:
4684:
4675:
4666:
4657:
4648:
4629:
4620:
4611:
4572:"Music: Ravel in American Debut"
4564:
4555:
4546:
4519:
4510:
4501:
4492:
4483:
4474:
4465:
4452:
4425:
4416:
4391:
4382:
4373:
4364:
4355:
4343:
4334:
4325:
4304:
4295:
4286:
4277:
4268:
4221:
4212:
4203:
4194:
4185:
4176:
4164:
4146:
4137:
4128:
4119:
4110:
4101:
4092:
4080:
4067:
4058:
4049:
4040:
4031:
4022:
3994:
3981:
3969:
3960:
3951:
3948:Kilpatrick, pp. 103–104, and 106
3942:
3927:
3918:
3909:
3900:
3887:
3878:
3869:
3860:
3851:
3842:
3833:
3798:, Oxford University Press, 2003
3401:Orenstein (1991), pp. 19 and 104
3118:, Oxford University Press, 2001
2795:Elegy in Memory of Maurice Ravel
2793:Works commemorating him include
2679:
2654:
2622:
2605:
2591:
2564:
2555:
2542:
2524:
2515:
2506:
2488:
2467:
2453:
2444:
2434:
2425:
2416:
2407:
2390:
2361:
2103:
1951:
1891:Problems playing this file? See
1870:
179:; Marie was also something of a
8146:French people of Basque descent
8086:20th-century conductors (music)
7744:Pavane pour une infante défunte
7580:Pavane pour une infante défunte
7404:
7179:. Oxford and New York: Oxford.
5657:Orenstein (1991), pp. 92 and 99
3827:, Oxford University Press, 2011
3813:
3804:
3784:
3775:
3766:
3757:
3745:
3736:
3703:
3694:
3663:
3654:
3645:
3636:
3627:
3618:
3599:
3590:
3581:
3560:
3539:
3521:
3500:
3491:
3482:
3473:
3452:
3443:
3434:
3413:
3395:
3392:Nichols (1987), pp. 118 and 184
3386:
3377:
3333:
3324:
3315:
3306:
3297:
3288:
3276:
3267:
3258:
3249:
3240:
3196:
3187:
3155:
3137:
3128:
3070:
3061:
3037:
3028:
3019:
3010:
2989:
2980:
2342:
2328:
2315:
2306:
2297:
2260:
2251:
2242:
2229:
2216:
2207:
2198:
2189:
2017:Pavane pour une infante défunte
1968:Pavane pour une infante défunte
1866:Pavane pour une infante défunte
1755:Valses nobles et sentimentales,
1336:, and have variously suggested
646:Pavane pour une infante défunte
444:Pavane pour une infante défunte
419:a single movement violin sonata
391:, Ravel's teacher and supporter
318:in 1895, with Ravel on the left
8151:French people of Swiss descent
7756:Valses nobles et sentimentales
7608:Valses nobles et sentimentales
7333:
5705:Inchauspé, Irene. (In French)
5667:"Maurice Ravel’s museum house"
5087:"Enfant et les sortilèges, L'"
3202:Nichols (2011), pp. 11 and 390
2971:
2959:
2941:
2905:
2890:Merriam-Webster.com Dictionary
2877:
2848:
2175:
2096:
1820:
1444:Valses nobles et sentimentales
876:Valses nobles et sentimentales
692:(1914–17, orchestrated 1919).
673:Valses nobles et sentimentales
670:(1908–10, orchestrated 1911),
543:and the orchestral song cycle
118:
1:
8091:20th-century French composers
8071:19th-century French composers
6123:Henson, R. A. (4 June 1988).
5977:Cambridge Companions to Music
5883:European Journal of Neurology
5639:"Honorary Members since 1826"
5620:Orenstein (2003), pp. 534–537
5286:"Musorgsky, Modest Petrovich"
5257:Orenstein (1991), pp. 204–205
4717:Orenstein (2003), pp. 535–536
4443:The Oxford Companion to Music
4251:Orenstein (2003), pp. 230–231
3825:The Oxford Companion to Music
3606:"Winners of the Prix de Rome"
3374:, BBC, retrieved 4 March 2014
3255:Nichols (1987), pp. 73 and 91
2842:
2819:Douze etudes d'interprétation
2086:Notes, references and sources
1994:
1259:
927:, and his own works were the
8196:Prix de Rome for composition
7826:Pierre-Joseph Ravel (father)
7354:Choral Public Domain Library
7350:Free scores by Maurice Ravel
7340:Free scores by Maurice Ravel
7325:Resources in other libraries
7194:White, Eric Walter (1984) .
6570:Twilight of the Belle Epoque
6553:(in French). Paris: Fayard.
5734:Free scores by Maurice Ravel
5539:Orenstein (2003) pp. 532–533
4525:Nichols (1987), p. 134; and
3122:UK public library membership
1841:consider that works such as
1620:, and the jazz elements and
766:Société Nationale de Musique
7:
8176:French male opera composers
7663:Sonata for Violin and Cello
7395:20th Century Press Archives
6955:Phillips, Edward R (2011).
6707:. London: Faber and Faber.
5629:Nichols (2011), pp. 206–207
5410:"Ravel: Gaspard de la Nuit"
5019:Nichols (1987), pp. 171–172
4927:in Orenstein (1991), p. 131
4608:in Orenstein (2003), p. 477
4331:Orenstein (1991), pp. 82–83
4191:Fulcher (2001), pp. 207–208
3365:"Maurice Ravel – Biography"
3025:Orenstein (1995), pp. 91–92
2835:Josef Friedrich Doppelbauer
1976:Sonata for Violin and Cello
1958:Sonata for Violin and Piano
726:Complexe mais pas compliqué
702:, one of Ravel's few pupils
676:(1911, orchestrated 1912),
660:), the Habanera section of
409:Michel-Dimitri Calvocoressi
218:, variations on a theme by
16:French composer (1875–1937)
10:
8212:
8131:French classical composers
7488:L'enfant et les sortilèges
6857:Orenstein, Arbie (2003) .
6815:Orenstein, Arbie (1991) .
6338:Kelly, Barbara L. (2013).
6304:. London: B. T. Batsford.
6240:. New York: Welcome Rain.
5996:French Music since Berlioz
5873:
5137:, performances since 2010.
4352:in Orenstein (2003), p. 32
3285:in Orenstein (1991), p. 33
3264:Jankélévitch, pp. 8 and 20
2521:"The Child and the Spells"
2049:Royal Philharmonic Society
1956:Apart from a one-movement
1921:Menuet sur le nom de Haydn
1613:L'enfant et les sortilèges
1382:
1152:L'enfant et les sortilèges
175:Both Ravel's parents were
170:Barnum and Bailey's Circus
162:internal combustion engine
18:
8171:Legion of Honour refusals
7861:
7818:
7765:
7730:Menuet sur le nom d'Haydn
7693:
7645:
7617:
7587:Pictures at an Exhibition
7522:
7471:
7458:
7372:22 September 2017 at the
7367:Maurice Ravel Frontispice
7320:Resources in your library
7143:10.1525/ncm.2001.24.3.225
7127:10.1525/ncm.2001.24.3.225
7001:; Stéphane Audel (1963).
6640:. London: Penguin Books.
6485:Maurice Ravel: Exposition
6300:Jones, J. Barrie (1989).
6263:. London: Omnibus Press.
6143:10.1136/bmj.296.6636.1585
6054:Fulcher, Jane F. (2005).
4729:in Nichols (1987), p. 173
4699:Nichols and Mawer, p. 266
4690:Nichols and Mawer, p. 256
4641:26 September 2017 at the
4617:Nichols (1987), pp. 47–48
4578:, 16 January 1928, p. 25
4516:Lesure and Nectoux, p. 45
4462:in Nichols (1987), p. 117
4413:Lesure and Nectoux, p. 10
4292:Poulenc and Audel, p. 175
4173:in Nichols (1987), p. 113
4055:Nichols (1987), pp. 41–43
3866:Nichols (1987), pp. 35–36
3700:Nichols (2011), pp. 66–67
3596:Nichols (2011), pp. 58–59
3419:Nichols (1987), pp. 10–14
3294:Nichols (1977), pp. 14–15
3112:"Ravel, (Joseph) Maurice"
2235:This critic was "Willy",
2169:[ʒozɛfmɔʁisʁavɛl]
1802:Pictures at an Exhibition
1508:
1453:and pavane, but also the
1425:Ravel to Vaughan Williams
1373:Levallois-Perret cemetery
1346:Creutzfeldt–Jakob disease
1277:Piano Concerto in G major
1146:Pictures at an Exhibition
874:, danced to the score of
686:, orchestrated 1918) and
324:Charles-Wilfrid de Bériot
87:Pictures at an Exhibition
66:and, in his later works,
8096:Ballets Russes composers
7802:Trois poèmes de Mallarmé
7788:Don Quichotte à Dulcinée
7173:Vaughan Williams, Ursula
7042:Schmidt, Carl B (2001).
6623:10.1525/ncm.2004.28.1.50
6607:10.1525/ncm.2004.28.1.50
6568:McAuliffe, Mary (2014).
6104:Goss, Madeleine (1940).
5930:Anderson, Keith (1994).
5910:Anderson, Keith (1989).
5611:Orenstein (2003), p. 536
5441:Orenstein (1991), p. 181
5313:Orenstein (1991), p. 193
5146:Orenstein (1991), p. 157
4983:Orenstein (1991), p. 192
4965:Orenstein (1991), p. 132
4936:Orenstein (1991), p. 131
4906:Orenstein (1991), p. 135
4752:Orenstein (1991), p. 105
4593:Orenstein (1991), p. 104
4200:Orenstein (2003), p. 169
3792:"Vauchant(-Arnaud), Léo"
3781:Orenstein (1991), p. 112
3754:in Nichols (1987), p. 67
3536:Orenstein (1991), p. 127
3527:Orenstein (2003), p. 421
3431:Orenstein (1991), p. 111
3370:11 February 2018 at the
3134:Orenstein (1967), p. 475
2715:4 Hommages pour le piano
2695:Balthazar de Beaujoyeulx
2398:steak and kidney pudding
2090:
1929:À la manière de Chabrier
1925:À la manière de Borodine
1665:Deux mélodies hébraïques
1644:Trois poèmes de Mallarmé
1378:
1326:Don Quichotte à Dulcinée
1017:
939:À la manière de Chabrier
935:À la manière de Borodine
930:Trois poèmes de Mallarmé
860:later in the same year.
778:, Debussy's piano suite
8161:Impressionist composers
8121:French ballet composers
7278:. New York: Routledge.
6883:Debussy and the Theatre
6817:Ravel: Man and Musician
6741:Nichols, Roger (2011).
6703:Nichols, Roger (1987).
6637:The Penguin Opera Guide
6456:Larner, Gerald (1996).
6436:The Cambridge Quarterly
6255:James, Burnett (1987).
6234:Ivry, Benjamin (2000).
6177:Hill, Edward Burlingame
6130:British Medical Journal
5950:Canarina, John (2003).
5573:(subscription required)
5567:Kennedy, Michael (ed).
5509:Orenstein (2003), p. 32
5497:Orenstein (1991), p. 88
5460:(subscription required)
5294:(subscription required)
5155:Jankélévitch, pp. 29–32
5102:(subscription required)
5048:(subscription required)
4955:(subscription required)
4887:(subscription required)
4786:22 January 2017 at the
4681:Orenstein (1991), p 101
4580:(subscription required)
4561:Orenstein (1991), p. 95
4543:Orenstein (2003), p. 10
4447:(subscription required)
4422:Orenstein (1991), p. 84
4370:Orenstein (1991), p. 78
4161:Orenstein (1995), p. 93
4134:Canarina, pp. 42 and 47
4011:(subscription required)
3966:Orenstein (1991), p. 65
3839:Vaughan Williams, p. 79
3829:(subscription required)
3810:Orenstein (1991), p. 93
3800:(subscription required)
3614:(subscription required)
3449:Orenstein (1991), p. 28
3330:Orenstein (1991), p. 24
3225:Orenstein (1991), p. 14
3216:Orenstein (1995), p. 92
3193:Orenstein (1991), p. 11
3152:Orenstein (1991), p. 16
3034:Orenstein (1991), p. 10
2968:in Nichols (2011), p. 3
2867:Oxford University Press
2789:, and a String Trio by
2460:that he had joined the
1766:Le tombeau de Couperin.
1442:, such as those in the
1338:frontotemporal dementia
1302:British Medical Journal
1282:Pedro de Freitas Branco
780:D'un cahier d'esquisses
752:1910 to First World War
738:Hélène Jourdan-Morhange
468:Les Apaches and Debussy
361:, and the piano pieces
255:Nikolai Rimsky-Korsakov
8181:Neoclassical composers
8141:French opera composers
7836:Impressionism in music
7831:Close and open harmony
7716:Le Tombeau de Couperin
7545:Le Tombeau de Couperin
7274:Zank, Stephen (2005).
7090:The Compleat Conductor
7019:Sackville-West, Edward
6942:(in French): 311–347.
6863:. Mineola, US: Dover.
6819:. Mineola, US: Dover.
6449:10.1093/camqtly/bfr022
6279:Jankélévitch, Vladimir
5953:Pierre Monteux, Maître
5688:3 January 2017 at the
5396:Nichols (2011), p. 102
5304:Nichols (2011), p. 248
5275:Nichols (2011), p. 302
5173:Nichols (2011), p. 280
5058:Nichols (2011), p. 129
4945:Taruskin, p. 112; and
4867:"Saint-Saëns, Camille"
4761:Nichols (2011), p. 330
4654:Nichols (2011), p. 301
4489:Nichols (2011), p. 289
4397:Nichols (2011), p. 210
4361:Nichols (1987), p. 118
4265:Fulcher (2005), p. 139
4209:Fulcher (2001), p. 208
4152:Nichols (2011), p. 179
4125:Nichols (2011), p. 157
4116:Nichols (1987), p. 113
3991:, 28 August 1912, p. 7
3987:"Promenade Concerts",
3906:Nichols (2011), p. 109
3660:Woldu, pp. 247 and 249
3587:Nichols (1987), p. 102
3470:Nichols (1987), p. 101
3361:Langham Smith, Richard
3312:Nichols (1987), p. 178
3273:Nichols (1987), p. 183
3007:Orenstein (1991), p. 8
2995:Orenstein (1991), p. 9
2956:Nichols (2011), p. 390
2237:Henri Gauthier-Villars
2025:Le tombeau de Couperin
1938:Le tombeau de Couperin
1933:Le tombeau de Couperin
1859:
1747:Une barque sur l'ocean
1726:
1600:Edward Burlingame Hill
1534:
1525:Paul-Charles Delaroche
1501:, Chabrier, Fauré and
1422:
1368:
1291:
1191:
1075:Le tombeau de Couperin
1064:
1008:Le tombeau de Couperin
972:
958:
878:, which opened at the
839:
761:
718:Ralph Vaughan Williams
703:
700:Ralph Vaughan Williams
689:Le tombeau de Couperin
651:Une barque sur l'océan
634:, owner and editor of
588:
517:
392:
319:
293:Conservatoire de Paris
247:Exposition Universelle
131:Ravel was born in the
128:
33:
21:Ravel (disambiguation)
7658:Piano Trio in A minor
7531:Alborada del gracioso
7109:L'Invasion germanique
6959:. London: Routledge.
6800:10.1093/mq/liii.4.467
6787:The Musical Quarterly
6393:The Musical Quarterly
6237:Maurice Ravel: A Life
6195:10.1093/mq/xiii.1.130
6182:The Musical Quarterly
6037:Debussy and his World
5644:14 April 2015 at the
5554:16 April 2015 at the
5479:Anderson (1994), p. 5
5470:Anderson (1989), p. 4
5415:17 March 2017 at the
5182:Nichols (2011), p. 55
5092:16 March 2021 at the
5038:16 March 2021 at the
5033:"Heure espagnole, L'"
5010:Zank, pp. 105 and 367
5001:Lanford, pp. 248–249.
4803:Amaducci et al, p. 75
4770:Henson, pp. 1586–1588
4672:Nichols (1987), p. 92
4437:16 March 2021 at the
4077:, 10 June 1914, p. 11
3939:, 20 April 1910, p. 6
3933:"Courrier Musicale",
3857:Nichols (1987), p. 35
3733:Nichols (1987), p. 32
3687:30 March 2009 at the
3651:Nichols (1977), p. 32
3566:Nichols (2011), p. 52
3351:Nichols (2011), p. 30
3339:Nichols (1977), p. 12
3321:Nichols (1977), p. 15
3246:Nichols (2011), p. 14
2863:UK English Dictionary
2757:by Arthur Honegger,
2051:in 1921, the Belgian
1903:Alborada del gracioso
1858:
1785:Edward Sackville-West
1770:Alborada del gracioso
1743:Alborada del gracioso
1715:Original setting for
1714:
1577:"Symphonie horlogère"
1516:
1418:
1366:
1287:
1186:
1058:
966:
898:for his company, the
829:
788:Six pièces pour piano
759:
698:
679:Alborada del gracioso
648:(orchestrated 1910),
576:
512:
453:Princesse de Polignac
387:
313:
126:
31:
8126:French-Basque people
7795:Histoires naturelles
7496:L'éventail de Jeanne
7463:List of compositions
7239:Revue de musicologie
7062:Schonberg, Harold C.
7023:Desmond Shawe-Taylor
6932:Revue de musicologie
6837:The American Scholar
6656:Nectoux, Jean-Michel
6406:10.1093/mq/xxv.4.430
6364:Revue de musicologie
5716:2 April 2015 at the
5379:2 April 2015 at the
5248:Goddard, pp. 298–301
5230:Goddard, pp. 293–294
5164:Jankélévitch, p. 177
4992:Lanford, pp. 245–246
4823:"Ravel and religion"
4143:Jankélévitch, p. 179
4016:5 March 2016 at the
3691:, BBC, 27 March 2009
3488:McAuliffe, pp. 57–58
3058:Nichols (2011), p. 9
2977:Nichols (2011), p. 6
2947:Nichols (2011), p. 1
2873:on 26 February 2021.
2611:In 2009 the pianist
2385:Germaine Tailleferre
2373:Alexis Roland-Manuel
2057:University of Oxford
1789:Desmond Shawe-Taylor
1699:Alexis Roland-Manuel
1639:Histoires naturelles
1587:'s 1925 novel about
1100:. Stravinsky, whose
985:, his only work for
953:Pelléas et Mélisande
921:'s unfinished opera
495:Pelléas et Mélisande
37:Joseph Maurice Ravel
8186:People from Labourd
8106:Composers for piano
7774:Chansons madécasses
7678:String Quartet in F
7673:Violin Sonata No. 2
7668:Violin Sonata No. 1
7630:Piano Concerto in G
7380:"Discovering Ravel"
7029:. London: Collins.
6480:Jean-Michel Nectoux
6460:. London: Phaidon.
6137:(6636): 1585–1588.
6076:Music & Letters
6020:. London: Phaidon.
5807:webshop.donemus.com
5385:The Financial Times
5360:, 30 September 2011
4861:30 May 2020 at the
4852:Nectoux Jean-Michel
4842:Marnat, pp. 721–784
4779:Blakeslee, Sandra.
4507:Kelly (2000), p. 24
4322:Kelly (2000), p. 25
4310:Kelly (2013), p. 57
4283:Kelly (2013), p. 56
4037:Morrison, pp. 57–58
3518:Kelly (2000), p. 16
2383:, and the composer
2292:Michel Calvocoressi
1653:Chansons madécasses
1563:La cloche engloutie
1553:was to be based on
1543:La cloche engloutie
1342:Alzheimer's disease
1134:Chansons madécasses
586:Paris Conservatoire
567:Scandal and success
559:and the opera star
504:Camille Saint-Saëns
287:Paris Conservatoire
145:Pierre-Joseph Ravel
90:is the best known.
52:Paris Conservatoire
7702:Gaspard de la nuit
7594:Rapsodie espagnole
7114:19th-Century Music
6594:19th-Century Music
6110:. New York: Holt.
6089:10.1093/ml/6.4.291
5935:French Piano Trios
5707:"A qui profite le
5602:, Volume 10, p. xv
5456:Grove Music Online
5408:Clements, Andrew.
5290:Grove Music Online
5284:Oldani, Robert W.
5212:in Goddard, p. 292
4951:Grove Music Online
4883:Grove Music Online
4829:on 5 January 2015.
4792:The New York Times
4576:The New York Times
4089:in Morrison, p. 54
4009:, 9 November 1912
4006:The New York Times
3957:Kilpatrick, p. 132
3796:Grove Music Online
3610:Grove Music Online
3237:Kelly (2000), p. 7
3116:Grove Music Online
2711:Gustave Samazeuilh
2707:Esquisse d'Espagne
2630:Gaspard de la nuit
2572:The New York Times
2533:The New York Times
2512:"Madagascan Songs"
2422:"The Spanish Hour"
2045:Institut de France
2039:Honours and legacy
1914:Gaspard de la nuit
1910:Gaspard de la nuit
1860:
1843:Gaspard de la Nuit
1831:Gaspard de la nuit
1731:Rapsodie espagnole
1727:
1535:
1436:ninth and eleventh
1369:
1208:Serge Koussevitzky
1167:Violin Sonata No.2
1149:(1922), the opera
1065:
973:
944:The Rite of Spring
840:
762:
704:
662:Rapsodie espagnole
589:
518:
393:
374:Rapsodie espagnole
341:Sérénade grotesque
320:
129:
97:Gaspard de la nuit
34:
7879:
7878:
7504:L'heure espagnole
7301:Library resources
7285:978-0-8153-1618-3
7228:978-0-252-02740-6
7205:978-0-520-03985-8
7186:978-0-19-315411-7
7164:978-0-19-538484-0
7151:Taruskin, Richard
7099:978-0-19-506377-6
7086:Schuller, Gunther
7077:978-0-393-01302-3
7053:978-1-57647-026-8
6990:978-0-520-24864-9
6966:978-0-415-99885-7
6908:(1672): 403–407.
6902:The Musical Times
6892:978-0-521-22807-7
6870:978-0-486-43078-2
6826:978-0-486-26633-6
6773:978-0-521-64856-1
6754:978-0-300-10882-8
6733:978-0-521-64856-1
6714:978-0-571-14986-5
6695:978-0-460-03146-2
6673:978-0-521-23524-2
6647:978-0-14-051385-1
6579:978-1-4422-2163-5
6560:978-2-213-01685-6
6528:(1586): 332–333.
6521:The Musical Times
6495:978-2-7177-1234-6
6467:978-0-7148-3270-8
6359:L'Heure espagnole
6349:978-1-84383-810-4
6330:978-0-521-64856-1
6311:978-0-7134-5468-0
6270:978-0-7119-0987-8
6247:978-1-56649-152-5
6226:978-0-521-64856-1
6065:978-0-19-534296-3
6046:978-0-691-09041-2
6027:978-0-7148-3932-5
6005:978-0-7546-0282-8
5986:978-0-521-64856-1
5963:978-1-57467-082-0
5937:. Munich: Naxos.
5933:Notes to Naxos CD
5917:. Munich: Naxos.
5913:Notes to Naxos CD
5450:Griffiths, Paul.
5432:Schuller, pp. 7–8
5423:, 26 October 2001
5387:, 16 January 2013
5352:Osborne, Steven.
4879:"Debussy, Claude"
4458:Francis Poulenc,
3790:Laplace, Michel.
3624:Macdonald, p. 332
3383:Larner, pp. 59–60
3184:and Nectoux, p. 9
3120:(subscription or
2893:. Merriam-Webster
2771:Alexandre Tansman
2751:Utsyo Chakraborty
2731:3 Japanese Lyrics
1875:
1806:Mikhail Tushmalov
1670:Chants populaires
1632:Other vocal works
1618:L'heure espagnole
1596:L'heure espagnole
1581:L'heure espagnole
1520:L'heure espagnole
1270:Paul Wittgenstein
1174:Montfort-l'Amaury
1155:to a libretto by
1087:L'heure espagnole
1061:Montfort-l'Amaury
1012:François Couperin
992:amoebic dysentery
849:Mercure de France
812:L'heure espagnole
326:, for piano, and
316:Charles de Bériot
251:new Russian works
200:Emmanuel Chabrier
8203:
8031:
8023:
8022:
8021:
8014:
8006:
8005:
8004:
7997:
7989:
7988:
7987:
7980:
7972:
7971:
7970:
7960:
7944:
7943:
7932:
7931:
7930:
7920:
7919:
7918:
7908:
7907:
7906:
7896:
7895:
7894:
7887:
7869:
7868:
7781:Two Hebrew Songs
7480:Daphnis et Chloé
7445:
7438:
7431:
7422:
7421:
7387:
7289:
7270:
7247:
7232:
7220:
7209:
7190:
7168:
7146:
7103:
7081:
7057:
7038:
7027:The Record Guide
7014:
6999:Poulenc, Francis
6994:
6970:
6951:
6940:
6925:
6896:
6874:
6853:
6830:
6811:
6782:Orenstein, Arbie
6777:
6758:
6737:
6718:
6705:Ravel Remembered
6699:
6677:
6662:. Translated by
6651:
6626:
6589:Daphnis et Chloé
6583:
6564:
6545:
6511:
6509:
6507:
6476:Lesure, François
6471:
6452:
6417:
6383:
6372:
6353:
6334:
6315:
6296:
6274:
6262:
6251:
6230:
6206:
6172:
6162:
6119:
6100:
6069:
6050:
6031:
6009:
5990:
5967:
5946:
5926:
5906:
5868:
5867:
5865:
5863:
5849:
5843:
5842:
5840:
5838:
5824:
5818:
5817:
5815:
5813:
5795:
5789:
5788:
5786:
5784:
5779:
5771:
5765:
5764:
5762:
5760:
5755:
5747:
5741:
5731:
5725:
5703:
5697:
5679:
5670:
5664:
5658:
5655:
5649:
5636:
5630:
5627:
5621:
5618:
5612:
5609:
5603:
5593:
5587:
5581:
5575:
5574:
5565:
5559:
5546:
5540:
5537:
5528:
5525:
5519:
5516:
5510:
5507:
5498:
5495:
5489:
5488:Phillips, p. 163
5486:
5480:
5477:
5471:
5468:
5462:
5461:
5452:"String quartet"
5448:
5442:
5439:
5433:
5430:
5424:
5406:
5397:
5394:
5388:
5370:
5361:
5350:
5344:
5341:
5335:
5332:
5323:
5320:
5314:
5311:
5305:
5302:
5296:
5295:
5282:
5276:
5273:
5267:
5264:
5258:
5255:
5249:
5246:
5240:
5237:
5231:
5228:
5222:
5219:
5213:
5207:
5201:
5198:
5192:
5189:
5183:
5180:
5174:
5171:
5165:
5162:
5156:
5153:
5147:
5144:
5138:
5128:
5122:
5119:
5113:
5110:
5104:
5103:
5085:Nichols, Roger.
5083:
5077:
5074:
5068:
5065:
5059:
5056:
5050:
5049:
5031:Nichols, Roger.
5029:
5020:
5017:
5011:
5008:
5002:
4999:
4993:
4990:
4984:
4981:
4975:
4972:
4966:
4963:
4957:
4956:
4943:
4937:
4934:
4928:
4922:
4916:
4913:
4907:
4904:
4898:
4895:
4889:
4888:
4871:Lesure, François
4849:
4843:
4840:
4831:
4830:
4825:. Archived from
4819:
4813:
4810:
4804:
4801:
4795:
4777:
4771:
4768:
4762:
4759:
4753:
4750:
4744:
4741:
4730:
4724:
4718:
4715:
4709:
4706:
4700:
4697:
4691:
4688:
4682:
4679:
4673:
4670:
4664:
4661:
4655:
4652:
4646:
4633:
4627:
4624:
4618:
4615:
4609:
4603:
4594:
4591:
4582:
4581:
4568:
4562:
4559:
4553:
4550:
4544:
4541:
4530:
4523:
4517:
4514:
4508:
4505:
4499:
4496:
4490:
4487:
4481:
4478:
4472:
4469:
4463:
4456:
4450:
4448:
4429:
4423:
4420:
4414:
4411:
4398:
4395:
4389:
4386:
4380:
4377:
4371:
4368:
4362:
4359:
4353:
4347:
4341:
4338:
4332:
4329:
4323:
4320:
4311:
4308:
4302:
4299:
4293:
4290:
4284:
4281:
4275:
4272:
4266:
4263:
4252:
4249:
4240:
4237:
4228:
4225:
4219:
4216:
4210:
4207:
4201:
4198:
4192:
4189:
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2913:"Ravel, Maurice"
2909:
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2900:
2898:
2881:
2875:
2874:
2869:. Archived from
2856:"Ravel, Maurice"
2852:
2837:
2779:Robert Casadesus
2759:4 Poemes hindous
2683:
2677:
2658:
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2642:
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2500:Harold Schonberg
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2381:Vlado Perlemuter
2365:
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2351:Rhapsody in Blue
2346:
2340:
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2326:
2319:
2313:
2310:
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2295:
2284:Tristan Klingsor
2280:Léon-Paul Fargue
2264:
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2112:
2109:
2100:
2053:Ordre de Léopold
2005:Robert Casadesus
1907:
1877:
1876:
1857:
1839:The Record Guide
1817:unlike his own.
1777:Daphnis et Chloé
1739:Daphnis et Chloé
1718:Daphnis et Chloé
1692:Orchestral works
1678:Leconte de Lisle
1674:Léon-Paul Fargue
1533:
1426:
1295:
1246:Arturo Toscanini
1243:
1197:
1129:Arnold Schönberg
1083:Daphnis et Chloé
1059:Le Belvédère in
1025:Legion of Honour
977:French Air Force
906:, and designer,
896:Sergei Diaghilev
892:Daphnis et Chloé
885:Daphnis et Chloé
869:
836:Daphnis et Chloé
775:La chanson d'Ève
728:was his motto."
723:
708:Manuel Rosenthal
621:Charles Lenepveu
578:Charles Lenepveu
528:
432:
402:
332:Barbara L. Kelly
306:
103:Daphnis et Chloé
8211:
8210:
8206:
8205:
8204:
8202:
8201:
8200:
8116:French atheists
8036:
8035:
8034:
8024:
8019:
8017:
8013:from Wikisource
8007:
8002:
8000:
7990:
7985:
7983:
7973:
7968:
7966:
7963:
7959:sister projects
7956:at Knowledge's
7950:
7938:
7928:
7926:
7916:
7914:
7910:Classical music
7904:
7902:
7892:
7890:
7882:
7880:
7875:
7857:
7814:
7761:
7689:
7641:
7613:
7518:
7467:
7454:
7449:
7407:
7378:
7374:Wayback Machine
7363:
7336:
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7309:
7308:
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7297:
7292:
7286:
7241:
7229:
7206:
7187:
7165:
7111:in the 1870s".
7100:
7078:
7054:
7003:Moi et mes amis
6991:
6975:Pollack, Howard
6967:
6934:
6893:
6879:Orledge, Robert
6871:
6827:
6774:
6755:
6734:
6715:
6696:
6674:
6648:
6580:
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6516:Macdonald, Hugh
6505:
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6496:
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6366:
6350:
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6014:Duchen, Jessica
6006:
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5718:Wayback Machine
5704:
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5696:, 25 April 2001
5690:Wayback Machine
5680:
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5646:Wayback Machine
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5527:De Voto, p. 113
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5417:Wayback Machine
5407:
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5381:Wayback Machine
5372:Clark, Andrew.
5371:
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5191:Goddard, p. 291
5190:
5186:
5181:
5177:
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5168:
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5159:
5154:
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5145:
5141:
5131:"Maurice Ravel"
5129:
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5107:
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5094:Wayback Machine
5084:
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4863:Wayback Machine
4856:"Fauré, Gabriel
4850:
4846:
4841:
4834:
4821:
4820:
4816:
4812:Henson, p. 1588
4811:
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4788:Wayback Machine
4778:
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4743:Henson, p. 1586
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4301:Schmidt. p. 136
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4107:Canarina, p. 43
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4064:Morrison, p. 50
4063:
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4046:Morrison, p. 54
4045:
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4018:Wayback Machine
4010:
3999:
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3986:
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3978:in Zank, p. 259
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3799:
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3772:Pollack, p. 728
3771:
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3763:Pollack, p. 119
3762:
3758:
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3737:
3732:
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3709:Goddard, p. 292
3708:
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3689:Wayback Machine
3680:
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3669:Nectoux, p. 267
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2878:
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2853:
2849:
2845:
2840:
2833:, for organ by
2743:Alfredo Casella
2727:Erwin Schulhoff
2703:Arthur Honegger
2684:
2680:
2674:Richard Strauss
2659:
2655:
2640:
2636:
2627:
2623:
2610:
2606:
2596:
2592:
2569:
2565:
2560:
2556:
2547:
2543:
2529:
2525:
2520:
2516:
2511:
2507:
2493:
2489:
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2475:Francis Poulenc
2472:
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2298:
2290:and the critic
2276:Paul Ladmirault
2268:Florent Schmitt
2265:
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2256:
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2234:
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2097:
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2041:
1997:
1991:chamber works.
1954:
1905:
1898:
1897:
1889:
1887:
1886:
1885:
1884:
1882:Thérèse Dussaut
1878:
1871:
1868:
1861:
1855:
1823:
1694:
1634:
1572:The Sunken Bell
1527:
1511:
1438:and unresolved
1428:
1424:
1387:
1381:
1297:
1294:Igor Stravinsky
1293:
1262:
1250:Arthur Honegger
1241:
1199:
1195:Arbie Orenstein
1193:
1165:(1924) and the
1140:Pierrot Lunaire
1098:Richard Strauss
1020:
961:
867:
796:Florent Schmitt
754:
733:Marguerite Long
721:
713:George Gershwin
625:L'affaire Ravel
582:Théodore Dubois
569:
561:Lucienne Bréval
526:
482:Manuel de Falla
478:Igor Stravinsky
470:
430:
405:Théodore Dubois
400:
314:Piano class of
304:
301:Arbie Orenstein
289:
177:Roman Catholics
139:, France, near
121:
116:
114:Life and career
24:
17:
12:
11:
5:
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8015:
7998:
7996:from Wikiquote
7981:
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7809:Trois Chansons
7805:
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7769:
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7759:
7752:
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7723:Menuet antique
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7566:Menuet antique
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7295:External links
7293:
7291:
7290:
7284:
7271:
7259:10.2307/947128
7253:(2): 245–267.
7233:
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7210:
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7121:(3): 225–251.
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6989:
6971:
6965:
6952:
6926:
6914:10.2307/964115
6897:
6891:
6875:
6869:
6860:A Ravel Reader
6854:
6831:
6825:
6812:
6794:(4): 467–481.
6778:
6772:
6759:
6753:
6738:
6732:
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6700:
6694:
6682:Nichols, Roger
6678:
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6534:10.2307/960328
6512:
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6466:
6453:
6443:(3): 243–265.
6418:
6400:(4): 430–441.
6388:Landormy, Paul
6384:
6354:
6348:
6335:
6329:
6316:
6310:
6297:
6275:
6269:
6252:
6246:
6231:
6225:
6207:
6173:
6120:
6101:
6083:(4): 291–303.
6070:
6064:
6051:
6045:
6032:
6026:
6010:
6004:
5991:
5985:
5968:
5962:
5947:
5927:
5907:
5877:
5875:
5872:
5870:
5869:
5857:www.boosey.com
5844:
5819:
5790:
5766:
5742:
5726:
5724:, 14 July 2000
5698:
5671:
5659:
5650:
5631:
5622:
5613:
5604:
5600:The Gramophone
5598:advertisement,
5588:
5584:The Gramophone
5576:
5560:
5541:
5529:
5520:
5511:
5499:
5490:
5481:
5472:
5463:
5443:
5434:
5425:
5398:
5389:
5362:
5345:
5336:
5324:
5315:
5306:
5297:
5277:
5268:
5259:
5250:
5241:
5232:
5223:
5214:
5202:
5193:
5184:
5175:
5166:
5157:
5148:
5139:
5123:
5114:
5112:Murray, p. 317
5105:
5078:
5076:Murray, p. 316
5069:
5060:
5051:
5021:
5012:
5003:
4994:
4985:
4976:
4967:
4958:
4947:"Leading note"
4938:
4929:
4917:
4908:
4899:
4890:
4844:
4832:
4814:
4805:
4796:
4794:, 8 April 2008
4772:
4763:
4754:
4745:
4731:
4719:
4710:
4701:
4692:
4683:
4674:
4665:
4656:
4647:
4636:"Ravel Bolero"
4628:
4619:
4610:
4595:
4583:
4570:Downes, Olin.
4563:
4554:
4545:
4531:
4518:
4509:
4500:
4498:Perret, p. 347
4491:
4482:
4473:
4464:
4451:
4424:
4415:
4399:
4390:
4381:
4372:
4363:
4354:
4342:
4333:
4324:
4312:
4303:
4294:
4285:
4276:
4267:
4253:
4241:
4229:
4220:
4211:
4202:
4193:
4184:
4182:Larner, p. 158
4175:
4163:
4154:
4145:
4136:
4127:
4118:
4109:
4100:
4091:
4079:
4066:
4057:
4048:
4039:
4030:
4021:
3993:
3980:
3968:
3959:
3950:
3941:
3926:
3917:
3908:
3899:
3886:
3877:
3868:
3859:
3850:
3841:
3832:
3812:
3803:
3783:
3774:
3765:
3756:
3744:
3735:
3723:
3711:
3702:
3693:
3671:
3662:
3653:
3644:
3635:
3626:
3617:
3598:
3589:
3580:
3568:
3559:
3547:
3538:
3529:
3520:
3508:
3499:
3490:
3481:
3472:
3460:
3451:
3442:
3433:
3421:
3412:
3403:
3394:
3385:
3376:
3353:
3341:
3332:
3323:
3314:
3305:
3296:
3287:
3275:
3266:
3257:
3248:
3239:
3227:
3218:
3204:
3195:
3186:
3163:
3154:
3145:
3136:
3127:
3078:
3069:
3060:
3048:
3046:in Goss, p. 23
3036:
3027:
3018:
3009:
2997:
2988:
2979:
2970:
2958:
2949:
2940:
2904:
2876:
2846:
2844:
2841:
2839:
2838:
2763:Maurice Delage
2691:Air Louis XIII
2678:
2653:
2634:Ivo Pogorelich
2621:
2613:Steven Osborne
2604:
2590:
2563:
2554:
2541:
2523:
2514:
2505:
2487:
2466:
2452:
2443:
2433:
2424:
2415:
2406:
2389:
2379:, the pianist
2369:Maurice Delage
2360:
2341:
2327:
2314:
2305:
2296:
2286:, the painter
2272:Maurice Delage
2259:
2250:
2241:
2228:
2215:
2206:
2197:
2188:
2174:
2094:
2092:
2089:
2087:
2084:
2040:
2037:
1996:
1993:
1984:Jelly d'Arányi
1953:
1950:
1946:André Cluytens
1888:
1879:
1869:
1864:
1863:
1862:
1853:
1852:
1851:
1822:
1819:
1810:Sir Henry Wood
1693:
1690:
1633:
1630:
1585:Joseph Delteil
1510:
1507:
1417:
1380:
1377:
1353:Clovis Vincent
1286:
1261:
1258:
1228:Ida Rubinstein
1185:
1121:Darius Milhaud
1102:Rite of Spring
1042:George Antheil
1038:Virgil Thomson
1019:
1016:
982:Trois Chansons
960:
957:
900:Ballets Russes
833:as Daphnis in
804:Pierre Monteux
770:Vincent d'Indy
753:
750:
632:Alfred Edwards
568:
565:
541:String Quartet
514:Claude Debussy
490:André Messager
469:
466:
364:Menuet antique
288:
285:
269:Émile Decombes
259:Claude Debussy
198:, a friend of
155:Delouart, was
120:
117:
115:
112:
45:Claude Debussy
15:
9:
6:
4:
3:
2:
8208:
8197:
8194:
8192:
8189:
8187:
8184:
8182:
8179:
8177:
8174:
8172:
8169:
8167:
8164:
8162:
8159:
8157:
8154:
8152:
8149:
8147:
8144:
8142:
8139:
8137:
8134:
8132:
8129:
8127:
8124:
8122:
8119:
8117:
8114:
8112:
8109:
8107:
8104:
8102:
8099:
8097:
8094:
8092:
8089:
8087:
8084:
8082:
8079:
8077:
8074:
8072:
8069:
8067:
8064:
8062:
8059:
8057:
8054:
8052:
8049:
8047:
8046:Maurice Ravel
8044:
8043:
8041:
8030:from Wikidata
8029:
8028:
8016:
8012:
8011:
7999:
7995:
7994:
7982:
7978:
7977:
7965:
7964:
7961:
7955:
7954:Maurice Ravel
7947:
7942:
7937:
7935:
7925:
7923:
7913:
7911:
7901:
7899:
7889:
7888:
7885:
7872:
7864:
7863:
7860:
7854:
7851:
7849:
7848:
7844:
7842:
7839:
7837:
7834:
7832:
7829:
7827:
7824:
7823:
7821:
7817:
7811:
7810:
7806:
7804:
7803:
7799:
7797:
7796:
7792:
7790:
7789:
7785:
7783:
7782:
7778:
7776:
7775:
7771:
7770:
7768:
7764:
7758:
7757:
7753:
7751:
7748:
7746:
7745:
7741:
7739:
7738:
7734:
7732:
7731:
7727:
7725:
7724:
7720:
7718:
7717:
7713:
7711:
7710:
7706:
7704:
7703:
7699:
7698:
7696:
7692:
7686:
7685:
7681:
7679:
7676:
7674:
7671:
7669:
7666:
7664:
7661:
7659:
7656:
7654:
7651:
7650:
7648:
7644:
7638:
7637:
7633:
7631:
7628:
7626:
7623:
7622:
7620:
7616:
7610:
7609:
7605:
7603:
7602:
7598:
7596:
7595:
7591:
7589:
7588:
7584:
7582:
7581:
7577:
7575:
7574:
7570:
7568:
7567:
7563:
7561:
7560:
7559:Ma mère l'Oye
7556:
7554:
7553:
7549:
7547:
7546:
7542:
7540:
7539:
7535:
7533:
7532:
7528:
7527:
7525:
7521:
7514:
7513:
7512:Ma mère l'Oye
7509:
7506:
7505:
7501:
7498:
7497:
7493:
7490:
7489:
7485:
7482:
7481:
7477:
7476:
7474:
7470:
7464:
7461:
7460:
7457:
7453:
7452:Maurice Ravel
7446:
7441:
7439:
7434:
7432:
7427:
7426:
7423:
7417:
7414:
7412:
7409:
7408:
7400:
7396:
7392:
7389:
7385:
7381:
7377:
7375:
7371:
7368:
7365:
7364:
7361:Miscellaneous
7355:
7351:
7348:
7345:
7341:
7338:
7337:
7326:
7323:
7321:
7318:
7316:
7313:
7312:
7307:
7306:Maurice Ravel
7302:
7287:
7281:
7277:
7272:
7268:
7264:
7260:
7256:
7252:
7249:(in French).
7248:
7245:
7240:
7234:
7230:
7224:
7219:
7218:
7211:
7207:
7201:
7197:
7192:
7188:
7182:
7178:
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7160:
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7132:
7128:
7124:
7120:
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7115:
7110:
7105:
7101:
7095:
7091:
7087:
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7079:
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7069:
7068:
7063:
7059:
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7028:
7024:
7020:
7016:
7012:
7008:
7004:
7000:
6996:
6992:
6986:
6982:
6981:
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6968:
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6958:
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6945:
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6938:
6933:
6927:
6923:
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6911:
6907:
6903:
6898:
6894:
6888:
6884:
6880:
6876:
6872:
6866:
6862:
6861:
6855:
6851:
6847:
6843:
6839:
6838:
6832:
6828:
6822:
6818:
6813:
6809:
6805:
6801:
6797:
6793:
6789:
6788:
6783:
6779:
6775:
6769:
6765:
6760:
6756:
6750:
6746:
6745:
6739:
6735:
6729:
6725:
6720:
6716:
6710:
6706:
6701:
6697:
6691:
6687:
6683:
6679:
6675:
6669:
6665:
6664:Roger Nichols
6661:
6657:
6653:
6649:
6643:
6639:
6638:
6633:
6632:Amanda Holden
6628:
6624:
6620:
6616:
6612:
6608:
6604:
6600:
6596:
6595:
6590:
6585:
6581:
6575:
6571:
6566:
6562:
6556:
6552:
6551:Maurice Ravel
6547:
6543:
6539:
6535:
6531:
6527:
6523:
6522:
6517:
6513:
6501:
6497:
6491:
6487:
6486:
6481:
6477:
6473:
6469:
6463:
6459:
6458:Maurice Ravel
6454:
6450:
6446:
6442:
6438:
6437:
6432:
6430:
6426:
6419:
6415:
6411:
6407:
6403:
6399:
6395:
6394:
6389:
6385:
6381:
6377:
6373:
6370:
6365:
6360:
6355:
6351:
6345:
6341:
6336:
6332:
6326:
6322:
6317:
6313:
6307:
6303:
6298:
6294:
6290:
6286:
6285:
6280:
6276:
6272:
6266:
6261:
6260:
6253:
6249:
6243:
6239:
6238:
6232:
6228:
6222:
6218:
6217:
6212:
6208:
6204:
6200:
6196:
6192:
6188:
6184:
6183:
6178:
6174:
6170:
6166:
6161:
6156:
6152:
6148:
6144:
6140:
6136:
6132:
6131:
6126:
6121:
6117:
6113:
6109:
6108:
6102:
6098:
6094:
6090:
6086:
6082:
6078:
6077:
6071:
6067:
6061:
6057:
6052:
6048:
6042:
6038:
6033:
6029:
6023:
6019:
6018:Gabriel Fauré
6015:
6011:
6007:
6001:
5997:
5992:
5988:
5982:
5978:
5974:
5969:
5965:
5959:
5955:
5954:
5948:
5944:
5940:
5936:
5932:
5928:
5924:
5920:
5916:
5912:
5908:
5904:
5900:
5896:
5892:
5888:
5884:
5879:
5878:
5858:
5854:
5848:
5833:
5829:
5823:
5808:
5804:
5802:
5794:
5776:
5770:
5752:
5746:
5739:
5735:
5730:
5723:
5719:
5715:
5712:
5710:
5702:
5695:
5691:
5687:
5684:
5681:Henley, Jon.
5678:
5676:
5668:
5663:
5654:
5647:
5643:
5640:
5635:
5626:
5617:
5608:
5601:
5597:
5592:
5585:
5580:
5570:
5564:
5557:
5553:
5550:
5545:
5536:
5534:
5524:
5515:
5506:
5504:
5494:
5485:
5476:
5467:
5457:
5453:
5447:
5438:
5429:
5422:
5418:
5414:
5411:
5405:
5403:
5393:
5386:
5382:
5378:
5375:
5369:
5367:
5359:
5355:
5349:
5340:
5331:
5329:
5319:
5310:
5301:
5291:
5287:
5281:
5272:
5263:
5254:
5245:
5236:
5227:
5218:
5211:
5206:
5197:
5188:
5179:
5170:
5161:
5152:
5143:
5136:
5132:
5127:
5121:White, p. 306
5118:
5109:
5099:
5095:
5091:
5088:
5082:
5073:
5064:
5055:
5045:
5041:
5037:
5034:
5028:
5026:
5016:
5007:
4998:
4989:
4980:
4971:
4962:
4952:
4948:
4942:
4933:
4926:
4921:
4912:
4903:
4894:
4884:
4880:
4876:
4872:
4868:
4864:
4860:
4857:
4853:
4848:
4839:
4837:
4828:
4824:
4818:
4809:
4800:
4793:
4789:
4785:
4782:
4776:
4767:
4758:
4749:
4740:
4738:
4736:
4728:
4723:
4714:
4705:
4696:
4687:
4678:
4669:
4663:James, p. 126
4660:
4651:
4644:
4640:
4637:
4632:
4623:
4614:
4607:
4602:
4600:
4590:
4588:
4577:
4573:
4567:
4558:
4549:
4540:
4538:
4536:
4528:
4522:
4513:
4504:
4495:
4486:
4480:James, p. 101
4477:
4468:
4461:
4455:
4444:
4440:
4436:
4433:
4428:
4419:
4410:
4408:
4406:
4404:
4394:
4385:
4376:
4367:
4358:
4351:
4346:
4337:
4328:
4319:
4317:
4307:
4298:
4289:
4280:
4271:
4262:
4260:
4258:
4248:
4246:
4236:
4234:
4224:
4215:
4206:
4197:
4188:
4179:
4172:
4167:
4158:
4149:
4140:
4131:
4122:
4113:
4104:
4095:
4088:
4083:
4076:
4070:
4061:
4052:
4043:
4034:
4025:
4019:
4015:
4008:
4007:
4002:
3997:
3990:
3984:
3977:
3972:
3963:
3954:
3945:
3938:
3937:
3930:
3924:Jones, p. 133
3921:
3912:
3903:
3896:
3890:
3881:
3872:
3863:
3854:
3845:
3836:
3826:
3822:
3816:
3807:
3797:
3793:
3787:
3778:
3769:
3760:
3753:
3748:
3739:
3730:
3728:
3718:
3716:
3706:
3697:
3690:
3686:
3683:
3678:
3676:
3666:
3657:
3648:
3639:
3630:
3621:
3611:
3607:
3602:
3593:
3584:
3575:
3573:
3563:
3554:
3552:
3542:
3533:
3524:
3515:
3513:
3503:
3494:
3485:
3476:
3467:
3465:
3455:
3446:
3437:
3428:
3426:
3416:
3407:
3398:
3389:
3380:
3373:
3369:
3366:
3362:
3357:
3348:
3346:
3336:
3327:
3318:
3309:
3300:
3291:
3284:
3279:
3270:
3261:
3252:
3243:
3234:
3232:
3222:
3213:
3211:
3209:
3199:
3190:
3183:
3178:
3176:
3174:
3172:
3170:
3168:
3158:
3149:
3140:
3131:
3123:
3117:
3113:
3110:
3105:
3103:
3101:
3099:
3097:
3095:
3093:
3091:
3089:
3087:
3085:
3083:
3073:
3064:
3055:
3053:
3045:
3040:
3031:
3022:
3013:
3004:
3002:
2992:
2983:
2974:
2967:
2962:
2953:
2944:
2928:
2924:
2920:
2919:
2914:
2908:
2892:
2891:
2886:
2880:
2872:
2868:
2864:
2862:
2857:
2851:
2847:
2836:
2832:
2828:
2827:Maurice Ohana
2824:
2820:
2816:
2815:Rudolf Escher
2812:
2808:
2804:
2800:
2799:David Diamond
2796:
2792:
2791:Roland-Manuel
2788:
2784:
2780:
2776:
2772:
2768:
2764:
2760:
2756:
2752:
2748:
2744:
2740:
2736:
2732:
2728:
2724:
2723:11 Inventions
2720:
2719:Ricardo Viñes
2716:
2712:
2708:
2704:
2700:
2699:Chant de joie
2696:
2692:
2688:
2682:
2675:
2671:
2667:
2663:
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2479:Georges Auric
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2029:Ma mère l'Oye
2026:
2022:
2018:
2014:
2013:Mark Hambourg
2010:
2006:
2002:
1992:
1989:
1985:
1981:
1977:
1972:
1970:
1969:
1964:
1959:
1952:Chamber music
1949:
1947:
1943:
1942:Ma mère L'Oye
1939:
1934:
1930:
1926:
1922:
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1911:
1904:
1896:
1894:
1883:
1880:Performed by
1867:
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1827:Ma mère l'Oye
1818:
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1758:Ma mère l'Oye
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1440:appoggiaturas
1437:
1433:
1427:
1421:
1416:
1414:
1410:
1406:
1402:
1398:
1393:
1391:
1390:Marcel Marnat
1386:
1376:
1374:
1367:Ravel's grave
1365:
1361:
1358:
1354:
1349:
1347:
1343:
1339:
1335:
1331:
1330:Lucien Garban
1327:
1323:
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1318:Jacques Ibert
1315:
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1214:
1213:Niagara Falls
1209:
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1184:
1182:
1179:
1178:Seine-et-Oise
1175:
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1126:
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1118:
1114:
1109:
1108:
1103:
1099:
1095:
1094:Gustav Mahler
1090:
1088:
1084:
1080:
1076:
1072:
1071:
1062:
1057:
1053:
1051:
1047:
1043:
1039:
1035:
1034:Aaron Copland
1030:
1026:
1015:
1013:
1009:
1005:
999:
995:
993:
988:
984:
983:
978:
970:
967:Ravel in the
965:
956:
954:
950:
946:
945:
940:
936:
932:
931:
926:
925:
924:Khovanshchina
920:
915:
913:
909:
905:
904:Michel Fokine
901:
897:
893:
889:
887:
886:
881:
877:
873:
865:
864:
859:
855:
851:
850:
845:
844:Ma mère l'Oye
838:
837:
832:
831:Michel Fokine
828:
824:
822:
821:bedroom farce
818:
814:
813:
807:
805:
801:
797:
793:
792:Ma mère l'Oye
789:
785:
784:Zoltán Kodály
781:
777:
776:
771:
767:
760:Ravel in 1913
758:
749:
745:
743:
742:Benjamin Ivry
739:
734:
729:
727:
719:
714:
709:
701:
697:
693:
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690:
685:
681:
680:
675:
674:
669:
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667:Ma mère l'Oye
663:
659:
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653:
652:
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641:
639:
638:
633:
628:
626:
622:
618:
614:
613:Paul Landormy
610:
606:
602:
598:
594:
587:
583:
579:
575:
571:
564:
562:
558:
557:Misia Edwards
554:
548:
546:
542:
538:
537:
532:
523:
522:Impressionist
515:
511:
507:
505:
501:
500:Opéra-Comique
497:
496:
491:
485:
483:
479:
475:
465:
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456:
454:
450:
446:
445:
440:
436:
427:
422:
420:
416:
415:
410:
406:
398:
397:André Gedalge
390:
389:Gabriel Fauré
386:
382:
380:
376:
375:
370:
366:
365:
360:
359:Clément Marot
356:
355:Paul Verlaine
350:
348:
347:
342:
337:
336:Gabriel Fauré
333:
329:
328:Émile Pessard
325:
317:
312:
308:
302:
298:
294:
284:
282:
281:Alfred Cortot
278:
277:Reynaldo Hahn
274:
270:
266:
264:
260:
256:
253:conducted by
252:
248:
244:
240:
236:
232:
228:
227:Ricardo Viñes
223:
221:
217:
213:
209:
205:
201:
197:
192:
190:
189:Roger Nichols
184:
182:
178:
173:
171:
167:
166:loop-the-loop
163:
158:
154:
150:
146:
142:
138:
134:
125:
111:
107:
105:
104:
99:
98:
91:
89:
88:
83:
79:
78:orchestration
75:
74:
69:
65:
64:neoclassicism
61:
57:
53:
48:
46:
42:
41:Impressionism
38:
32:Ravel in 1925
30:
26:
22:
8025:
8008:
7991:
7979:from Commons
7974:
7953:
7845:
7807:
7800:
7793:
7786:
7779:
7772:
7754:
7742:
7735:
7728:
7721:
7714:
7707:
7700:
7682:
7634:
7606:
7599:
7592:
7585:
7578:
7571:
7564:
7557:
7550:
7543:
7536:
7529:
7510:
7502:
7494:
7486:
7478:
7451:
7405:Institutions
7356:(ChoralWiki)
7315:Online books
7305:
7275:
7250:
7237:
7216:
7195:
7176:
7154:
7118:
7112:
7108:
7089:
7066:
7043:
7026:
7002:
6979:
6956:
6930:
6905:
6901:
6882:
6859:
6841:
6835:
6816:
6791:
6785:
6763:
6743:
6723:
6704:
6685:
6659:
6636:
6598:
6592:
6588:
6569:
6550:
6525:
6519:
6504:. Retrieved
6484:
6457:
6440:
6434:
6428:
6424:
6397:
6391:
6362:
6358:
6339:
6320:
6301:
6283:
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6215:
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6074:
6055:
6036:
6017:
5995:
5972:
5952:
5934:
5931:
5914:
5911:
5889:(1): 75–82.
5886:
5882:
5860:. Retrieved
5856:
5847:
5835:. Retrieved
5832:Presto Music
5831:
5822:
5810:. Retrieved
5806:
5800:
5793:
5781:. Retrieved
5769:
5757:. Retrieved
5745:
5729:
5721:
5708:
5701:
5694:The Guardian
5693:
5683:"Poor Ravel"
5662:
5653:
5634:
5625:
5616:
5607:
5599:
5591:
5583:
5579:
5563:
5544:
5523:
5514:
5493:
5484:
5475:
5466:
5455:
5446:
5437:
5428:
5421:The Guardian
5420:
5392:
5384:
5358:The Guardian
5357:
5348:
5339:
5318:
5309:
5300:
5289:
5280:
5271:
5262:
5253:
5244:
5235:
5226:
5217:
5209:
5205:
5200:James, p. 21
5196:
5187:
5178:
5169:
5160:
5151:
5142:
5126:
5117:
5108:
5097:
5081:
5072:
5067:Hill, p. 144
5063:
5054:
5043:
5015:
5006:
4997:
4988:
4979:
4970:
4961:
4950:
4941:
4932:
4924:
4920:
4911:
4902:
4893:
4882:
4847:
4827:the original
4817:
4808:
4799:
4791:
4775:
4766:
4757:
4748:
4726:
4722:
4713:
4704:
4695:
4686:
4677:
4668:
4659:
4650:
4631:
4622:
4613:
4605:
4575:
4566:
4557:
4548:
4521:
4512:
4503:
4494:
4485:
4476:
4467:
4459:
4454:
4442:
4432:"Noces, Les"
4427:
4418:
4393:
4384:
4375:
4366:
4357:
4349:
4345:
4336:
4327:
4306:
4297:
4288:
4279:
4270:
4227:James, p. 81
4223:
4214:
4205:
4196:
4187:
4178:
4170:
4166:
4157:
4148:
4139:
4130:
4121:
4112:
4103:
4098:James, p. 72
4094:
4086:
4082:
4074:
4069:
4060:
4051:
4042:
4033:
4024:
4004:
3996:
3988:
3983:
3975:
3971:
3962:
3953:
3944:
3934:
3929:
3920:
3911:
3902:
3894:
3889:
3880:
3871:
3862:
3853:
3844:
3835:
3824:
3815:
3806:
3795:
3786:
3777:
3768:
3759:
3751:
3747:
3738:
3705:
3696:
3665:
3656:
3647:
3638:
3629:
3620:
3609:
3601:
3592:
3583:
3578:James, p. 46
3562:
3541:
3532:
3523:
3502:
3493:
3484:
3475:
3454:
3445:
3436:
3415:
3410:James, p. 22
3406:
3397:
3388:
3379:
3356:
3335:
3326:
3317:
3308:
3299:
3290:
3282:
3278:
3269:
3260:
3251:
3242:
3221:
3198:
3189:
3157:
3148:
3143:James, p. 15
3139:
3130:
3115:
3072:
3063:
3043:
3039:
3030:
3021:
3016:Howat, p. 71
3012:
2991:
2986:James, p. 13
2982:
2973:
2965:
2961:
2952:
2943:
2931:. Retrieved
2916:
2907:
2895:. Retrieved
2888:
2879:
2871:the original
2859:
2850:
2830:
2822:
2818:
2810:
2807:Robert Moran
2802:
2794:
2783:3 Sarabandes
2782:
2774:
2766:
2758:
2754:
2746:
2738:
2730:
2722:
2714:
2706:
2698:
2690:
2681:
2670:Rachmaninoff
2656:
2629:
2624:
2616:
2607:
2597:
2593:
2585:
2579:
2575:
2571:
2566:
2557:
2544:
2531:
2526:
2517:
2508:
2490:
2469:
2455:
2446:
2436:
2427:
2418:
2409:
2392:
2363:
2349:
2344:
2330:
2322:
2317:
2308:
2299:
2278:, the poets
2262:
2253:
2244:
2231:
2218:
2209:
2200:
2191:
2177:
2098:
2081:
2076:The Guardian
2074:
2068:
2065:
2061:
2042:
2032:
2028:
2024:
2020:
2016:
2008:
1998:
1979:
1973:
1966:
1955:
1941:
1937:
1932:
1928:
1924:
1920:
1918:
1913:
1909:
1902:
1899:
1890:
1846:
1842:
1838:
1834:
1830:
1826:
1824:
1801:
1799:
1792:
1776:
1774:
1769:
1765:
1761:
1757:
1754:
1750:
1746:
1742:
1738:
1734:
1730:
1728:
1716:
1702:
1695:
1685:
1682:
1669:
1663:
1659:
1657:
1652:
1648:
1642:
1638:
1635:
1627:
1617:
1611:
1609:
1604:
1595:
1593:
1580:
1576:
1570:
1562:
1558:
1550:
1547:Jeanne d'Arc
1546:
1542:
1538:
1536:
1518:
1448:
1443:
1429:
1423:
1419:
1394:
1388:
1370:
1350:
1325:
1311:
1300:
1298:
1292:
1288:
1274:
1263:
1253:
1235:
1223:
1221:
1217:Grand Canyon
1200:
1192:
1187:
1171:
1160:
1150:
1144:
1138:
1132:
1105:
1101:
1091:
1086:
1082:
1078:
1074:
1068:
1066:
1021:
1007:
1000:
996:
980:
974:
952:
948:
942:
938:
934:
928:
922:
916:
912:neurasthenia
891:
890:
883:
875:
871:
861:
854:Queen's Hall
847:
843:
841:
834:
817:Albert Carré
810:
808:
800:Ernest Bloch
791:
787:
779:
773:
763:
746:
730:
725:
705:
687:
683:
677:
671:
665:
661:
655:
649:
645:
642:
635:
629:
624:
616:
593:Prix de Rome
590:
570:
549:
544:
539:(1901), the
534:
519:
493:
486:
471:
457:
442:
425:
423:
412:
394:
372:
368:
362:
351:
344:
340:
321:
290:
267:
224:
208:counterpoint
193:
185:
181:free-thinker
174:
152:
130:
108:
101:
95:
92:
85:
71:
49:
36:
35:
25:
8056:1937 deaths
8051:1875 births
7853:Les Apaches
7618:Concertante
7601:Shéhérazade
7384:BBC Radio 3
7334:Free scores
7242: [
6935: [
6423:"Ravel and
6367: [
6189:: 130–146.
4708:Zank, p. 20
4552:Zank, p. 33
4239:Zank, p. 11
3076:Goss, p. 24
3067:Goss, p. 23
2775:24 Preludes
2537:Olin Downes
2356:Robert Alda
2288:Paul Sordes
1931:(1913) and
1821:Piano music
1686:Shéhérazade
1649:Shéhérazade
1589:Joan of Arc
1559:The Sandman
1528: [
1479:passacaglia
1357:ventricular
1313:Don Quixote
1284:conducted.
1181:département
1125:grand opera
1050:Cyril Scott
969:French Army
664:(1907–08),
580:(left) and
553:Emma Bardac
545:Shéhérazade
474:Les Apaches
435:Pierre Lalo
426:Shéhérazade
414:Shéhérazade
273:Salle Érard
212:Léo Delibes
119:Early years
8040:Categories
7993:Quotations
7847:The Bolero
7841:Ravel Peak
7709:Jeux d'eau
7694:Solo piano
7523:Orchestral
6844:: 91–102.
6374:: 97–135.
6211:Howat, Roy
5862:19 October
5837:19 October
5812:19 October
5783:19 October
5759:19 October
5711:de Ravel?"
3875:Ivry, p. 4
2843:References
2825:(1983) by
2813:(1940) by
2805:(1976) by
2787:Erik Satie
2767:7 Preludes
2735:Stravinsky
2687:Henri Ghys
2503:permanent.
2377:Leo Arnaud
2011:played by
2009:Jeux d'eau
2001:piano roll
1995:Recordings
1893:media help
1835:Jeux d'eau
1814:Leo Funtek
1723:Léon Bakst
1622:bitonality
1409:classicist
1383:See also:
1260:Last years
1046:Arnold Bax
1004:Piano Trio
987:a cappella
919:Mussorgsky
908:Léon Bakst
882:in April.
536:Jeux d'eau
379:Erik Satie
239:Baudelaire
196:Henri Ghys
82:Mussorgsky
7898:Biography
7135:0148-2076
7035:500373060
7011:464080687
6615:0148-2076
6601:: 50–76.
6591:(1912)".
6425:The Raven
6293:474667514
6281:(1959) .
5943:811255627
5923:884172234
5135:Operabase
4875:Roy Howat
4075:The Times
3989:The Times
3936:Le Figaro
3895:The Times
3124:required)
2933:6 October
2897:6 October
2645:Ashkenazy
2615:wrote of
2059:in 1928.
1988:dissonant
1605:tendresse
1567:Hauptmann
1491:Hungarian
1203:Gauloises
1117:atonality
1107:Les noces
863:The Times
531:symbolism
439:Beethoven
245:. At the
172:in 1903.
56:modernism
7871:Category
7750:Sonatine
7552:La valse
7515:(ballet)
7499:(ballet)
7483:(ballet)
7370:Archived
7175:(1964).
7153:(2010).
7088:(1997).
7064:(1981).
7025:(1955).
6977:(2007).
6881:(1982).
6850:41212291
6684:(1977).
6658:(1991).
6500:Archived
6482:(1975).
6380:40648547
6151:29530952
6016:(2000).
5903:11784380
5722:Le Point
5714:Archived
5686:Archived
5642:Archived
5596:Columbia
5552:Archived
5413:Archived
5377:Archived
5090:Archived
5036:Archived
4859:Archived
4784:Archived
4639:Archived
4435:Archived
4014:Archived
3685:Archived
3368:Archived
2927:Archived
2755:3 Pieces
2649:Argerich
2570:In 2008
2550:WorldCat
2548:In 2015
2070:Le Point
1927:(1912),
1923:(1909),
1735:La valse
1555:Hoffmann
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