Maurice Ravel


Born: Mar 7, 1875; France   Died: Dec 28, 1937; France   Period: Romantic
Maurice Ravel was among the most significant and influential composers of the early twentieth century. Although he is frequently linked with Claude Debussy as an exemplar of musical impressionism, and some of their works have a surface resemblance, Ravel possessed an independent voice that grew out of his love of a broad variety of styles, including the French Baroque, Bach, Mozart, Chopin, Spanish folk traditions, and American jazz and blues. Read more His elegant and lyrically generous body of work was not large in comparison with that of some of his contemporaries, but his compositions are notable for being meticulously and exquisitely crafted. He was especially gifted as an orchestrator, an area in which he remains unsurpassed.
Ravel's mother was of Basque heritage, a fact that accounted for his lifelong fascination with Spanish music, and his father was a Swiss inventor and engineer, most likely the source of his commitment to precision and craftsmanship. At the age of 14, he entered the Paris Conservatory, where he was a student from 1889 to 1895 and from 1897 to 1903. His primary composition teacher was Gabriel Fauré. A major disappointment of his life was his failure to win the Prix de Rome in spite of numerous attempts. The difficulty was transparently the conflict between the conservative administration of the Conservatory and Ravel's independent thinking, meaning his association with the French avant-garde (Debussy), and his interest in non-French traditions (Wagner, the Russian nationalists, Balinese gamelan). He had already established himself as a composer of prominence with works such as his String Quartet, and the piano pieces Pavane pour une infante défunte, Jeux d'eau, and the Sonatine, and his loss of the Prix de Rome in 1905 was considered such a scandal that the director of the Conservatory was forced to resign.
Ravel continued to express admiration for Debussy's music throughout his life, but as his own reputation grew stronger during the first decade of the century, a mutual professional jealousy cooled their personal relationship. Around the same time, he developed a friendship with Igor Stravinsky. The two became familiar with each other's work during Stravinsky's time in Paris and worked collaboratively on arrangements for Sergey Diaghilev.
Between 1909 and 1912, Ravel composed Daphnis et Chloé for Diaghilev and Les Ballets Russes. It was the composer's largest and most ambitious work and is widely considered his masterpiece. He wrote a second ballet for Diaghilev, La Valse, which the impresario rejected, but which went on to become one of his most popular orchestral works. Following his service in the First World War as an ambulance driver, and the death of his mother in 1917, his output was temporarily diminished. In 1925, the Monte Carlo Opera presented the premiere of another large work, the "lyric fantasy" L'enfant et les sortilèges, a collaboration with writer Colette.
American jazz and blues became increasingly intriguing to the composer. In 1928 he made a hugely successful tour of North America, where he met George Gershwin and had the opportunity to broaden his exposure to jazz. Several of his most important late works, such as the Sonata for Violin and Piano No. 2 and the Piano Concerto in G show the influence of that interest.
Ironically, Ravel, who in his youth was rejected by some elements of the French musical establishment for being a modernist, in his later years was scorned by Satie and the members of Les Six as being old-fashioned, a symbol of the establishment. In 1932, an injury he sustained in an automobile accident started a physical decline that resulted in memory loss and an inability to communicate. He died in 1937, following brain surgery.
In spite of leaving one of the richest and most important bodies of work of any early twentieth century composer, one that included virtually every genre except for symphony and liturgical music, Ravel is most often remembered for an arrangement of another composer's work, and for a piece he considered among his least significant. His orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition has been wildly popular with concertgoers (and the royalties from it made Ravel a rich man). Boléro, a 15-minute Spanish dance in which a single theme is repeated in a variety of instrumental guises, has been ridiculed for its insistent repetitiveness, but it is also a popular favorite and one of the most familiar and frequently performed orchestral works of the twentieth century. Read less
Ravel: L'Enfant et les sortileges; Ma Mere l'Oye - Complete Ballet
Release Date: 10/09/2015   Label: Naxos  
Catalog: 8660336   Number of Discs: 1
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Ravel, Debussy & Massenet / Bavouzet, Tortelier, BBC Symphony Orchestra
Release Date: 11/16/2010   Label: Chandos  
Catalog: 5084   Number of Discs: 1
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Faure, Franck, Ravel & Poulenc / Russakovsky, Nicholson
Release Date: 10/06/2017   Label: Centaur Records  
Catalog: 3596   Number of Discs: 1
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Ravel & Debussy: Sonates / Pouliot, Huang
Release Date: 04/13/2018   Label: Analekta  
Catalog: 28798   Number of Discs: 1
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The Best Of Ravel
Release Date: 02/04/1997   Label: Naxos  
Catalog: 8556673   Number of Discs: 1
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Work: Daphnis et Chloé Suite no 2


Ravel: Daphnis et Chloé, Suite No.2 - 1. Lever du jour [Daphnis et Chloë, Suite No.2]
Ravel: Daphnis et Chloé, Suite No.2 - 2. Pantomime [Daphnis et Chloë, Suite No.2]
Ravel: Daphnis et Chloé, Suite No.2 - 3. Danse générale [Daphnis et Chloë, Suite No.2]
About This Work
Daphnis and Chloé was the largest work Ravel was ever to compose, occupying him from early 1909 until April 5, 1912. It is also widely regarded as his most impressive achievement, and among the greatest ballet scores of the twentieth century. Read more The work calls for an enormous orchestra, with approximately fifteen distinct percussion instruments and a wordless chorus, heard both offstage and onstage. Given its sheer size, the ballet score is much better known by excerpts, and when heard in concert, is usually represented by one of two suites that Ravel extracted from it. The first suite, of 1911, draws material from the "Nocturne," "Interlude" and "Danse guerriere," while Ravel designated the final three numbers: "Lever du jour," Pantomime," and "Danse générale" as Suite No. 2, following the score's completion in 1912.

Based on the pastoral drama by the Greek poet Longus, the ballet's scenario was devised by Mikhail Fokine, a classically trained dancer and choreographer for Sergie Diaghilev's Ballets Russes. In his autobiographical sketch, the composer described its conception: "In writing it I sought to compose a broad musical fresco, less concerned with archaic fidelity than with loyalty to the Greece of my dreams, which in many ways resembled that imagined and depicted by French artists at the latter part of the eighteenth century. The work is constructed symphonically on a very strict tonal plan, by means of a few themes, the development of which assures the work's homogeneity."

The first two scenes, which comprise Suite No. 1, portray the courtship of Daphnis and Chloé, and the latter's abduction by, and miraculous escape from, a band of pirates. The third scene, comprising the three numbers of Suite No. 2, takes place in a grove sacred to the god Pan and begins with daybreak following the pirate's night of terror. Eventually the muted sounds of dawn give way to a stronger, more dynamic melodic thread in the strings, rising to an impassioned lyrical theme. Throughout this extended passage, Daphnis awakes, anxiously looks for Chloé, and sees her among a group of shepherdesses. The two lovers embrace as the melody reaches an impassioned climax. In gratitude to Pan, whose intervention saved Chloé from the pirates, Daphnis and Chloé mime the adventures of the god and his beloved nymph, Syrinx, to a sultry flute accompaniment. Marked "expressive and supple," the solo is actually shared by the four members of the flute section -- piccolo, two flutes, and alto flute -- but played as if written for a single instrument. Chloé dances to this flute music, which becomes increasingly energetic, and she in turn, more animated. The motion suddenly breaks at a woodwind descent, and with a last whirl, she falls languorously into the arms of Daphnis. In a brief but passionate epilogue, a group of young women enter, dressed as bacchantes and shaking tambourines, followed by a group of young men. Against a dizzying 5/4 meter, Ravel deploys the full resources of the orchestra to create an exhilarating Dionysian celebration of physical love.

-- Brian Wise Read less

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