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    Maurice Ravel (1875-1937) was a French composer of Swiss-Basque descent. He studied at the Paris Conservatory from 1899-1905. His style evolved over three periods - his early works were influenced by Liszt, Chopin and Spanish music, using dance rhythms and extended chords. His middle period saw wider harmonies, longer melodies and new textures. His late works synthesized his personal style, including works for piano, orchestra and ballet. He is known for his counterpoint, strict forms and virtuosic yet precise melodies that captured multicultural influences.

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    Maurice Ravel (1875-1937) was a French composer of Swiss-Basque descent. He studied at the Paris Conservatory from 1899-1905. His style evolved over three periods - his early works were influenced by Liszt, Chopin and Spanish music, using dance rhythms and extended chords. His middle period saw wider harmonies, longer melodies and new textures. His late works synthesized his personal style, including works for piano, orchestra and ballet. He is known for his counterpoint, strict forms and virtuosic yet precise melodies that captured multicultural influences.

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    © All Rights Reserved
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    19 views10 pages

    History Presentation PDF

    Uploaded by

    Chopin95
    Maurice Ravel (1875-1937) was a French composer of Swiss-Basque descent. He studied at the Paris Conservatory from 1899-1905. His style evolved over three periods - his early works were influenced by Liszt, Chopin and Spanish music, using dance rhythms and extended chords. His middle period saw wider harmonies, longer melodies and new textures. His late works synthesized his personal style, including works for piano, orchestra and ballet. He is known for his counterpoint, strict forms and virtuosic yet precise melodies that captured multicultural influences.

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    of 10

    Ravel’s style through

    his piano music


    Adrian Pellegrino
    Maurice Ravel (1875-1937)
    ❖ Swiss-Basque descent.
    ❖ Went to Paris conservatory from 1899 to 1905.
    ❖ There he knew pianist Ricardo Viñes, along
    whom he would join “The Apalaches” group.
    ❖ Failed to win the Prix de Rome multiple times.
    ❖ Didn’t join the Societé Nationale de Musique.
    ❖ Served briefly on the 1st World War.
    ❖ Collaborated with the Russian Ballet and Serguéi
    Diáguilev.
    ❖ Started to present symptoms of a neurological
    disease in 1933
    ● Counterpoint
    ● Strict forms
    ● Elaborate ornamentation
    ● Simmetry
    ● Organized and reserved
    ● Multicultural (Spain, Italy, Russia, Jazz)
    ● Child-like simplicity
    ● Flamboyant virtuosity
    ● Mechanical precision of melody and rhythm
    ● He describes himself in terms of craftsmanship
    1st period
    (1889-1905) ● Influenced by Liszt, Chopin,
    Faure and Mussorgsky.
    ● Pianistic virtuosity applied to
    ● Sérénade grotesque convey programmatic ideas.
    (1892-93) ● Spanish components (Albeniz)
    ● Menuet antique (1895), ● Dance rhythms
    Pavane pour une infante ● Neoclassical style
    défunte (1899) ● Extended chords
    ● Jeux d'eau (1901) ● Attachment to functional
    ● Sonatine (1903-05) tonality (Chabrier)
    ● Miroirs (1904-05) ● Hints at bitonality
    Serenade Grotesque
    Jeux d’eau
    2nd period
    (1905-1914) ●
    ●
    Wider harmonic modulations
    More flexible form
    ● Longer melodies through
    ● Rapsodie espagnole (1907)
    modality and expansive
    ● Gaspard de la nuite (1909)
    phrasing.
    ● Ma mère l'oye (1910)
    ● New textures
    ● Valses Nobles et
    ● Deeper psychological layer
    sentimentales (1911)
    Valses nobles et sentimentales
    3rd period
    (1914-1935)
    ● Le Tombeau de Couperin
    (1917)
    Synthesis within his own personal
    ● La valse (1920)
    style
    ● Piano concerto in G major
    (1929)
    ● Concerto for the left hand
    (1929)
    Sources
    ❖ Myers, R. H. (2022, June 20). Maurice Ravel. Encyclopedia Britannica.
    https://www.britannica.com/biography/Maurice-Ravel
    ❖ Kelly, B. (2010, January 20). Ravel (Joseph) Maurice. Oxford Music online.
    https://doi.org/10.1093/gmo/9781561592630.article.52145
    ❖ Kaminsky, P. (2003). Composers’ Words, Theorists’ Analyses, Ravel’s Music (Sometimes the Twain
    Shall Meet). College Music Symposium, 43, 161–177. http://www.jstor.org/stable/40374476
    ❖ James, B. (1983). Ravel, his Life and Times. Turnbridge Wells; Midas Books.
    ❖ Murdoch, H. (2007). Ravel’s Miroirs: Text and Context.
    ❖ Baur, S. (1999). Ravel’s “Russian” Period: Octatonicism in His Early Works, 1893-1908. Journal of
    the American Musicological Society, 52(3), 531–592. https://doi.org/10.2307/831792
    ❖ Ivanchenko, O. (2015). Characteristics of Maurice Ravel’s Compositional Language as Seen Through
    the Texture of his Selected Piano Works and the Piano Suite “Gaspard de la Nuit” [University of
    Miami].
    https://scholarship.miami.edu/discovery/fulldisplay/alma991031447889402976/01UOML_INST:Re
    searchR epository

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