116-449: Boléro is a 1928 work for large orchestra by French composer Maurice Ravel . It is one of Ravel's most famous compositions. It was also one of his last completed works before illness diminished his ability to write music. The work's creation was set in motion by a commission from the dancer Ida Rubinstein , who asked Ravel for an orchestral transcription of six pieces from Isaac Albéniz 's set of piano pieces, Iberia . While working on
232-633: A bedroom farce – 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. In 1912 Ravel had three ballets premiered. The first, to the orchestrated and expanded version of Ma mère l'Oye , opened at the Théâtre des Arts in January. The reviews were excellent:
348-408: A dandy 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 years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he
464-441: 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 Piano Trio was almost complete when the conflict began, and the most substantial of his wartime works is Le tombeau de Couperin , composed between 1914 and 1917. The suite celebrates the tradition of François Couperin , the 18th-century French composer; each movement
580-559: A 1931 interview with The Daily Telegraph , he spoke about the work as follows: It constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before its first performance, I issued a warning to the effect that what I had written was a piece lasting seventeen minutes and consisting wholly of "orchestral tissue without music"—of one very long, gradual crescendo. There are no contrasts, and practically no invention except
696-409: A 5th above or a 4th below, in G major. Other than these "key doublings", Ravel simply harmonizes the melody with diatonic chords. The following table shows the instruments playing in each section of the piece (in order): ( arco ) The accompaniment becomes gradually thicker and louder until the whole orchestra is playing at the very end. Just before the end (rehearsal number 18 in the score), there
812-437: A C major chord. The tempo indication in the score is Tempo di Bolero, moderato assai ("tempo of a bolero , very moderate"). In Ravel's copy of the score, the printed metronome mark of 76 per quarter is crossed out and 66 is substituted. Later editions of the score suggest a tempo of 72. Ravel's own recording from January 1930 starts at approximately 66 per quarter, slightly slowing down later on to 60–63. Its total duration
928-535: 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 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. Ravel's mother died in January 1917, and he fell into
1044-704: A cappella 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. 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
1160-408: A chorale by Schumann , variations on a theme by Grieg and a single movement of a piano sonata. They survive only in fragmentary form. In 1888 Ravel met the young pianist Ricardo Viñes , 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 Wagner , Russian music, and
1276-489: A close interest in the controversy was Alfred Edwards , owner and editor of Le Matin , 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. 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
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#17327910443611392-426: A completely new piece based on the bolero , a Spanish dance musical form. While on vacation at St Jean-de-Luz , Ravel went to the piano and played a melody with one finger to his friend Gustave Samazeuilh , saying, "Don't you think this theme has an insistent quality? I'm going to try and repeat it a number of times without any development, gradually increasing the orchestra as best I can." Idries Shah wrote that
1508-525: A composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois , who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow student, Michel-Dimitri Calvocoressi , he
1624-450: A friend of Emmanuel Chabrier ; five years later, in 1887, he began studying harmony , counterpoint and composition with Charles-René, a pupil of Léo Delibes . 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
1740-407: A horn playing the melody in C, while a celesta doubles it 2 and 3 octaves above and two piccolos play the melody in the keys of G and E, respectively. This functions as a reinforcement of the first, second, third, and fourth overtones of each note of the melody (though the "G major" is 2 cents flat, and the "E major" is 14 cents sharp). The other significant "key doubling" involves sounding the melody
1856-433: 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 was more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship. Ravel wrote that Debussy's "genius
1972-533: A libretto by Colette (1926), Tzigane (1924) and the Violin Sonata No.2 (1927). 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 Montfort-l'Amaury , 50 kilometres (31 mi) west of Paris, in the Seine-et-Oise département . Looked after by a devoted housekeeper, Mme Revelot, he lived there for
2088-525: A modest regular income for the deserted Lilly Debussy, a fact that Nichols suggests may have rankled with her husband. During the first years of the new century Ravel made five attempts to win France's most prestigious prize for young composers, the Prix de Rome , past winners of which included Berlioz , Gounod , Bizet , Massenet and Debussy. In 1900 Ravel was eliminated in the first round; in 1901 he won
2204-447: A new tune in E major before finally returning to the tonic key of C major. The melody is passed among different instruments: (1) flute, (2) clarinet, (3) bassoon, (4) E ♭ clarinet, (5) oboe d'amore, (6) trumpet and flute (latter is not heard clearly and in higher octave than the first part), (7) tenor saxophone, (8) soprano saxophone, (9) horn, piccolos and celesta; (10) oboe, English horn and clarinet; (11) trombone, (12) some of
2320-586: 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 La chanson d'Ève , Debussy's piano suite D'un cahier d'esquisses , Zoltán Kodály 's Six pièces pour piano and the original piano duet version of Ravel's Ma mère l'Oye . The performers included Fauré, Florent Schmitt , Ernest Bloch , Pierre Monteux and, in
2436-550: 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
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#17327910443612552-456: A performing version of Mussorgsky 's unfinished opera Khovanshchina , and his own works were the Trois poèmes de Mallarmé for soprano and chamber ensemble, and two short piano pieces, À la manière de Borodine and À la manière de Chabrier . In 1913, together with Debussy, Ravel was among the musicians present at the dress rehearsal of The Rite of Spring . Stravinsky later said that Ravel
2668-654: A pianist or conductor, he took part in recordings of several of his works; others were made under his supervision. Ravel was born in the Basque town of Ciboure , France, near Biarritz , 18 kilometres (11 mi) from the Spanish border. His father, Pierre-Joseph Ravel , was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. His mother, Marie, née Delouart,
2784-414: A piano score and later an orchestration. Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his complex orchestral works such as Daphnis et Chloé (1912) require skilful balance in performance. 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
2900-476: A slower tempo is confirmed by his unhappiness with Toscanini's performance, as reported above. Toscanini's 1939 recording with the NBC Symphony Orchestra has a duration of 13 minutes 25 seconds. Ravel was a stringent critic of his own work. During the composition of Boléro , he said to Joaquín Nin that the work had "no form, properly speaking, no development, no or almost no modulation". In
3016-495: A study for the British Medical Journal 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 aphasia . Before the accident he had begun work on music for a film, Don Quixote (1933), but he
3132-403: A tradition that continues to this day. Boléro is "Ravel's most straightforward composition in any medium". The music is in C major , 4 time , beginning pianissimo and rising in a continuous crescendo to fortissimo possibile (as loud as possible). It is built over an unchanging ostinato rhythm played 169 times on one or more snare drums that remains constant throughout
3248-545: A visit to Poe's house in New York, and excursions to Niagara Falls and the Grand Canyon . 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". The last composition Ravel completed in the 1920s, Boléro , became his most famous. He
3364-472: A woman was heard shouting that Ravel was mad. When told about this, Ravel is said to have remarked that she had understood the piece. The piece was first published by the Parisian firm Durand in 1929. Arrangements were made for piano solo and piano duet (two people playing at one piano), and later, Ravel arranged a version for two pianos, published in 1930. The first recording was made by Piero Coppola for
3480-502: A work, he must avoid the ovations" and, ten days later, inviting Toscanini to conduct the premiere of his Piano Concerto for the Left Hand , an invitation that was declined. The Toscanini affair became a cause célèbre and further increased the fame of Boléro . Other factors in the work's renown were the large number of early performances, gramophone records, including Ravel's own, transcriptions and radio broadcasts, together with
3596-467: A year, it included some of his finest works. In 1920 he completed La valse , 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
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3712-457: Is 15 minutes 50 seconds. Coppola's first recording, at which Ravel was present, has a similar duration of 15 minutes 40 seconds. Ravel said in an interview with The Daily Telegraph that the piece lasts 17 minutes. An average performance lasts about 15 minutes, with the slowest recordings, such as that by Ravel's associate Pedro de Freitas Branco , extending well beyond 18 minutes and the fastest, such as Leopold Stokowski 's 1940 recording with
3828-406: Is a sudden change of key to E major, but C major is reestablished after just eight bars. Six bars from the end, the bass drum, cymbals, and tam-tam make their first entry, and the trombones play raucous glissandi while the whole orchestra beats out the rhythm that has been played on the snare drum from the first bar. Finally, the work descends from a dissonant B ♭ minor over F minor chord to
3944-402: Is dedicated to a friend of Ravel's who died in the war. 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, after the death of Debussy in 1918, he
4060-497: Is heard in his later music. Arnold Schönberg 's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire . His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to
4176-517: Is imbued with tragedy, observing that the snare drum "dehumanizes one of the most sensuously connotative aspects of the bolero", "instruments with the capacity for melodic expression mimic the machinery," and the melody consistently ends with a descending tetrachord . The piece gained new attention after it was prominently featured in the 1979 romantic comedy 10 , costarring Dudley Moore and Bo Derek . This resulted in massive sales, generated an estimated $ 1 million in royalties and briefly made Ravel
4292-633: 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 Arturo Toscanini , and has been recorded several hundred times. Ravel commented to Arthur Honegger , one of Les Six, "I've written only one masterpiece – Boléro . Unfortunately there's no music in it." At
4408-404: Is provided by the contrast between the steady percussive rhythm, and the "expressive vocal melody trying to break free". Interest is maintained by constant re orchestration of the theme, leading to a variety of timbres , and by a steady crescendo . Both themes are repeated eight times. At the climax, the first theme is repeated a ninth time, then the second theme takes over and breaks briefly into
4524-465: Is unknown. Experts have ruled out the possibility of a tumour , and have variously suggested frontotemporal dementia , Alzheimer's disease and Creutzfeldt–Jakob disease . 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. In 1937 Ravel began to suffer pain from his condition, and
4640-604: The Mercure de France called the score "absolutely ravishing, a masterwork in miniature". The music rapidly entered the concert repertoire; it was played at the Queen's Hall , London, within weeks of the Paris premiere, and was repeated at the Proms later in the same year. The Times praised "the enchantment of the work ... the effect of mirage, by which something quite real seems to float on nothing". New York audiences heard
4756-759: The Gramophone Company on 13 January 1930. Ravel attended the recording session. The next day, he conducted the Lamoureux Orchestra in his own recording for Polydor . That same year, further recordings were made by Serge Koussevitzky with the Boston Symphony Orchestra and Willem Mengelberg with the Concertgebouw Orchestra . Conductor Arturo Toscanini gave the American premiere of Boléro with
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4872-535: The New York Philharmonic on 14 November 1929. The performance was a great success, bringing "shouts and cheers from the audience" according to a New York Times review, leading one critic to declare that "it was Toscanini who launched the career of the Boléro", and another to claim that Toscanini had made Ravel into "almost an American national hero". On 4 May 1930, Toscanini performed the work with
4988-486: The Opéra-Comique . It divided musical opinion. Dubois unavailingly forbade Conservatoire students to attend, and the conductor's friend and former teacher Camille Saint-Saëns 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. Debussy was widely held to be an Impressionist composer –
5104-461: The 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque , for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893). 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
5220-407: 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 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
5336-518: The 1905 piano suite Miroirs ), the Habanera section of Rapsodie espagnole (1907–08), Ma mère l'Oye (1908–10, orchestrated 1911), Valses nobles et sentimentales (1911, orchestrated 1912), Alborada del gracioso (from Miroirs , orchestrated 1918) and Le tombeau de Couperin (1914–17, orchestrated 1919). Ravel was not by inclination a teacher, but he gave lessons to a few young musicians he felt could benefit from them. Manuel Rosenthal
5452-702: The 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire ; 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 modernism , baroque , neoclassicism and, in his later works, jazz . He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes
5568-453: 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 Ralph Vaughan Williams , who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner ... Complexe mais pas compliqué
5684-427: The 1934 motion picture Bolero starring George Raft and Carole Lombard , in which the music plays an important role. Boléro is written for a large orchestra consisting of: The instrumentation calls for a sopranino saxophone in F, which never existed (modern sopraninos are in E ♭ ). At the first performance, both the sopranino and soprano saxophone parts were played on the B ♭ soprano saxophone,
5800-610: The All American Youth Orchestra, approaching 12 minutes. In May 1994, with the Munich Philharmonic on tour in Cologne, conductor Sergiu Celibidache at the age of 82 gave a performance that lasted 17 minutes and 53 seconds, perhaps a record in the modern era. At Coppola's first recording, Ravel indicated strongly that he preferred a steady tempo, criticizing the conductor for getting faster at
5916-464: 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. The first of Ravel's two operas, the one-act comedy L'heure espagnole was premiered in 1911. The work had been completed in 1907, but the manager of the Opéra-Comique, Albert Carré , repeatedly deferred its presentation. He was concerned that its plot –
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#17327910443616032-605: The New York Philharmonic at the Paris Opéra as part of that orchestra's European tour. Toscanini's tempo was significantly faster than Ravel preferred, and Ravel signaled his disapproval by refusing to respond to Toscanini's gesture during the audience ovation. An exchange took place between the two men backstage after the concert. According to one account, Ravel said, "It's too fast", to which Toscanini responded, "You don't know anything about your own music. It's
6148-569: The Paris Opéra. In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss . Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces 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
6264-433: 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 Aaron Copland , Virgil Thomson and George Antheil and by Vaughan Williams and his English colleagues Arnold Bax and Cyril Scott . Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition
6380-636: The beat of sexual intercourse . That is why Ravel's Bolero is the one piece of classical music that is commonly known and liked by them." In a 2011 article for The Cambridge Quarterly , Michael Lanford wrote, "throughout his life, Maurice Ravel was captivated by the act of creation outlined in Edgar Allan Poe 's Philosophy of Composition ." Since, in his words, Boléro defies "traditional methods of musical analysis owing to its melodic, rhythmic, and harmonic repetitiveness," he offers an analysis that "corresponds to Ravel's documented reflections on
6496-608: The beginning of the 1930s Ravel was working on two piano concertos. He completed the Piano Concerto in D major for the Left Hand first. It was commissioned by the Austrian pianist Paul Wittgenstein , 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
6612-515: The best-selling classical composer 40 years after his death. The French film Les Uns et les Autres was also distributed under the name Boléro, and features a Boléro dance sequence, by Jorge Donn , at the end. The ice dancing pair Torvill and Dean danced to a six-minute version of the work in winning the gold medal in ice dancing at the 1984 Winter Olympics , receiving perfect 6.0s for artistic merit. The eight-minute short film Le batteur du Boléro (1992) by Patrice Leconte concentrates on
6728-410: The classes of Charles-Wilfrid de Bériot , for piano, and Émile Pessard , for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musicologist Barbara L. Kelly , he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of
6844-515: 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; neurasthenia obliged him to rest for several months after the premiere. Ravel composed little during 1913. He collaborated with Stravinsky on
6960-483: The creative process and the aesthetic precepts outlined in Poe's Philosophy of Composition ." Lanford also contends that Boléro was quite possibly a deeply personal work for Ravel. As evidence, Lanford cites Ravel's admissions that the rhythms of Boléro were inspired by the machines of his father's factory and melodic materials came from a berceuse Ravel's mother sang to him at nighttime. Lanford also proposes that Boléro
7076-416: The critics were complimentary. At an all-Ravel programme conducted by Serge Koussevitzky 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 non-musical highlights as
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#17327910443617192-500: The drummer, played by Jacques Villeret , and the problems of his musical part. The film was screened out of competition at the 1992 Cannes Film Festival . This song played during the torch-lighting ceremony of the 2020 Tokyo Olympics and 2024 Paris Paralympics . It was used by Kamila Valieva in her 2021–22 season's free skate program. A version was recorded with Frank Zappa conducting an all-brass big-band ensemble. Koji Kondo , composer at Nintendo , planned to use Boléro as
7308-655: The end of the work. According to Coppola's own report: Maurice Ravel... did not have confidence in me for the Boléro . He was afraid that my Mediterranean temperament would overtake me, and that I would rush the tempo. I assembled the orchestra at the Salle Pleyel, and Ravel took a seat beside me. Everything went well until the final part, where, in spite of myself, I increased the tempo by a fraction. Ravel jumped up, came over and pulled at my jacket: "not so fast", he exclaimed, and we had to begin again. Ravel's preference for
7424-480: 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 Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity". In 1891 Ravel progressed to
7540-599: The excellence of American orchestras. American cuisine was apparently another matter. Arbie Orenstein 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 Gauloises cigarettes. He appeared with most of the leading orchestras in Canada and the US and visited twenty-five cities. Audiences were enthusiastic and
7656-604: The first performance of the Shéhérazade 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 debutant ... who will perhaps become something if not someone in about ten years, if he works hard". Another critic, Pierre Lalo , thought that Ravel showed talent, but
7772-493: The group was fluid, and at various times included Igor Stravinsky and Manuel de Falla as well as their French friends. 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 André Messager conducted the premiere of Debussy's opera Pelléas et Mélisande at
7888-504: The impresario Sergei Diaghilev for his company, the Ballets Russes . Ravel began work with Diaghilev's choreographer, Michel Fokine , and designer, Léon Bakst . 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
8004-536: The main theme for the first The Legend of Zelda video game, but reworked it into an original piece shortly before release due to copyright concerns. Angélique Kidjo performed an adaptation of Bolero in the song "Lonlon" for her 2007 album Djin Djin . Sigge Eklund played the song repeatedly in his episode of the Swedish radio programme Sommar (radio program) because his grandfather – actor Bengt Eklund , whom
8120-478: The main theme is adapted from a melody composed for and used in Sufi training. The composition was a sensational success when it premiered at the Paris Opéra on 22 November 1928, with choreography by Bronislava Nijinska and designs and scenario by Alexandre Benois . The orchestra of the Opéra was conducted by Walther Straram . Originally, Ernest Ansermet had been engaged to conduct the entire ballet season, but
8236-475: The musicians refused to play under him. A scenario by Rubinstein and Nijinska was printed in the program for the premiere: Inside a tavern in Spain, people dance beneath the brass lamp hung from the ceiling. [In response] to the cheers to join in, the female dancer has leapt onto the long table and her steps become more and more animated. But Ravel had a different conception of the work: his preferred stage design
8352-473: The new century Ravel's new works included the piano piece Jeux d'eau (1901), the String Quartet and the orchestral song cycle Shéhérazade (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". The two composers ceased to be on friendly terms in the middle of the first decade of
8468-625: The new generation of composers typified by Satie's protégés Les Six 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 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
8584-408: The only way to save the work". According to another report, Ravel said, "That's not my tempo". Toscanini replied, "When I play it at your tempo, it is not effective", to which Ravel retorted, "Then do not play it". Four months later, Ravel attempted to smooth over relations with Toscanini by sending him a note explaining that "I have always felt that if a composer does not take part in the performance of
8700-456: The opening measures, we are plunged into a world in which Ravel has but rarely introduced us." The Piano Concerto in G major 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 record it together, but at
8816-566: The piece: On top of this rhythm two melodies are heard, each 18 bars long, and each played twice alternately. The first melody is diatonic , and the second introduces more jazz-influenced elements, with syncopation and flattened notes (technically it is mostly in the Phrygian mode ). The first melody descends through one octave , the second through two octaves. The bass line and accompaniment are initially played on pizzicato strings, mainly using rudimentary tonic and dominant notes. Tension
8932-566: The place of development. Renowned for his abilities in orchestration , Ravel made some orchestral arrangements of other composers' piano music, of which his 1922 version of Mussorgsky 's Pictures at an Exhibition is the best known. 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 in two versions: first,
9048-510: The plan and the manner of execution. In 1934, in his book Music Ho! , Constant Lambert wrote: "There is a definite limit to the length of time a composer can go on writing in one dance rhythm (this limit is obviously reached by Ravel towards the end of La valse and towards the beginning of Boléro )." Literary critic Allan Bloom commented in his 1987 bestseller The Closing of the American Mind , "Young people know that rock has
9164-651: 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 Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and L'heure espagnole were successfully revived at
9280-515: The programme is about, liked this orchestra piece in particular. This piece's copyright expired on 1 May 2016 for many countries, but not worldwide. The work is public domain in Canada, China, Japan, New Zealand, South Africa, and many others where the copyright term is "Life + 50 years". It is also public domain in the European Union (where the term is Life + 70 years). In the U.S., Boléro remains under copyright until 1 January 2025 as it
9396-475: 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. 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
9512-561: 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 amoebic dysentery in September 1916, and had frostbite in his feet the following winter. 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
9628-512: The same year Ravel gave his earliest public performance. Aged fourteen, he took part in a concert at the Salle Érard along with other pupils of Decombes, including Reynaldo Hahn and Alfred Cortot . With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris . In November 1889, playing music by Chopin , he passed
9744-502: The second prize for the competition. In 1902 and 1903 he won nothing: according to the musicologist Paul Landormy , 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 furore . 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
9860-434: The senior professor at the Conservatoire, Charles Lenepveu , 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. L'affaire Ravel 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. Among those taking
9976-436: 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 Emma Bardac . Ravel, together with his close friend and confidante Misia Edwards and the opera star Lucienne Bréval , contributed to
10092-402: The sessions Ravel confined himself to supervising proceedings and Pedro de Freitas Branco conducted. 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. Igor Stravinsky 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
10208-434: 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 the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter". He dressed like
10324-419: The transcription, Ravel was informed that Spanish conductor Enrique Fernández Arbós had already orchestrated the movements, and that copyright law prevented any other arrangement from being made. When Arbós heard of this, he said he would happily waive his rights and allow Ravel to orchestrate the pieces. But Ravel decided to orchestrate one of his own works instead, then changed his mind and decided to compose
10440-494: The wind instruments, (13) first violins and some wind instruments, (14) first and second violins together with some wind instruments, (15) violins and some of the wind instruments, (16) some instruments in the orchestra, and finally (17) most but not all of the instruments in the orchestra (with bass drum, cymbals and tam-tam). While the melody continues to be played in C throughout, from the middle onward other instruments double it in different keys . The first such doubling involves
10556-523: The work in the same year. Ravel's second ballet of 1912 was Adélaïde ou le langage des fleurs , danced to the score of Valses nobles et sentimentales , which opened at the Châtelet in April. Daphnis et Chloé opened at the same theatre in June. This was his largest-scale orchestral work, and took him immense trouble and several years to complete. Daphnis et Chloé was commissioned in or about 1909 by
10672-624: The writings of Poe , Baudelaire and Mallarmé . At the Exposition Universelle in Paris in 1889, Ravel was much struck by the new Russian works conducted by Nikolai Rimsky-Korsakov . This music had a lasting effect on both Ravel and his older contemporary Claude Debussy , as did the exotic sound of the Javanese gamelan , also heard during the Exposition. Émile Decombes took over as Ravel's piano teacher in 1889; in
10788-563: Was Basque 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 internal combustion engine and a notorious circus machine, the "Whirlwind of Death", an automotive loop-the-loop that was a major attraction until a fatal accident at Barnum and Bailey's Circus in 1903. Both Ravel's parents were Roman Catholics ; Marie
10904-435: Was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a single movement violin sonata , 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. In May 1897 Ravel conducted
11020-427: 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. 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
11136-464: Was also something of a free-thinker , 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
11252-455: Was clean-shaven. 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 Les Apaches ("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
11368-434: Was commissioned to provide a score for Ida Rubinstein 's ballet company, and having been unable to secure the rights to orchestrate Albéniz 's Iberia , he decided on "an experiment in a very special and limited direction ... 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
11484-462: Was due to be decided on 24 June 2024 before the court in Nanterre , and on 28 June it was reported that the court rejected the claim. Maurice Ravel Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy , although both composers rejected the term. In
11600-524: 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". In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge . Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as
11716-426: Was examined by Clovis Vincent , a well-known Paris neurosurgeon. Vincent advised surgical treatment. He thought a tumour unlikely, and expected to find ventricular 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
11832-472: Was first published in 1929 with the prescribed copyright notice. The last remaining rights owner, Evelyne Pen de Castel, has entered a number of claims that the work was in fact co-created with the designer Alexandre Benois. The effect would be to extend the copyright (when performed as a ballet) until 2039. The claims have been rejected repeatedly by French courts and the French authors society SACEM . The matter
11948-460: 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 Legion of Honour in 1920, and although he declined the decoration, he was viewed by
12064-457: Was his motto." 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 Marguerite Long 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
12180-589: 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. The Société Nationale de Musique , founded in 1871 to promote the music of rising French composers, had been dominated since the mid-1880s by a conservative faction led by Vincent d'Indy . Ravel, together with several other former pupils of Fauré, set up
12296-458: Was in general a slow and painstaking worker, and reworking his earlier piano compositions enabled him to increase the number of pieces published and 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 Pavane pour une infante défunte (orchestrated 1910), Une barque sur l'océan (1906, from
12412-465: Was in love with Misia Edwards, or wanted to marry the violinist Hélène Jourdan-Morhange . 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 Benjamin Ivry ; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery. Ravel's first concert outside France
12528-484: Was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality . Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera , and its influence
12644-400: 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 ... I think I have always personally followed a direction opposed to that of [his] symbolism ." During the first years of
12760-414: Was of an open-air setting with a factory in the background, reflecting the mechanical nature of the music. Boléro became Ravel's most famous composition, much to the surprise of the composer, who had predicted that most orchestras would refuse to play it. It is usually played as a purely orchestral work, only rarely staged as a ballet. According to a possibly apocryphal story from the premiere performance,
12876-475: 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 to learn from studying Debussy's music: "Only Debussy could have written it and made it sound like only Debussy can sound." When George Gershwin asked him for lessons in
12992-426: Was sensitive to music. My father, much better educated in this art than most 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 Roger Nichols suggests that the boy may have been chiefly educated by his father. When he was seven, Ravel started piano lessons with Henri Ghys ,
13108-617: Was the only person who immediately understood the music. Ravel predicted that the premiere of the Rite would be seen as an event of historic importance equal to that of Pelléas et Mélisande . When Germany invaded France in 1914 Ravel tried to join the French Air Force . 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 Trois Chansons , his only work for
13224-494: Was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot , and the piano pieces Menuet antique and Habanera (for four hands), the latter eventually incorporated into the Rapsodie espagnole . At around this time, Joseph Ravel introduced his son to Erik Satie , who
13340-462: Was too indebted to Debussy and should instead emulate Beethoven . 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: Pavane pour une infante défunte (" Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac . From
13456-458: Was unable to meet the production schedule, and Jacques Ibert wrote most of the score. Ravel completed three songs for baritone and orchestra intended for the film; they were published as Don Quichotte à Dulcinée . The manuscript orchestral score is in Ravel's hand, but Lucien Garban and Manuel Rosenthal helped in transcription. Ravel composed no more after this. The exact nature of his illness
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