Maurice Ravel Popular Songs Ranking [2026]

Noble and Sentimental Waltzes: No. 1, Modéré (Moderato), G majorMaurice Ravel81rank/position

Ravel plays Ravel – Valses nobles et sentimentales, 1. Modéré – très franc

The suite Valses nobles et sentimentales fuses traditional waltz forms with Maurice Ravel’s characteristically modern sonorities.

Its opening piece is graceful yet tinged with melancholy, evoking a curious, elusive mood.

At its premiere in May 1911, the composer’s name was withheld, and the work astonished audiences with its originality.

One can almost picture a glittering ballroom where, amid the dancing, a secret, fleeting thought crosses the heart.

The work is also known in its ballet incarnation as Adélaïde, ou le langage des fleurs.

It’s perfect for those who want to experience the intriguing rhythms and harmonies that overturn conventional images of the waltz.

Aim for a rounded, gentle tone to convey the wistfulness that lies beneath the brilliance.

Noble and Sentimental Waltzes: No. 3 Waltz, Modéré in G majorMaurice Ravel82rank/position

Ravel, Valses nobles et sentimentales, No.3 Modéré

Maurice Ravel’s suite Valses nobles et sentimentales, modeled after Schubert’s waltzes, was introduced to the world in 1911 as a piano work and staged the following year as ballet music.

Of the eight pieces that make up the suite, the third waltz is a beautiful number in which a faintly wistful expression emerges from within a calm and orderly surface.

In this work, the two spirits of “nobility” and “sentiment” are expressed in exquisite balance.

Its slightly intricate, transparent harmonies carried by a flowing triple meter evoke the subtle play of pale light and shadow in the heart.

Rather than flaunting virtuosity, the key is to carefully draw out the fine nuances embedded in the score.

Aim for an elegant atmosphere by playing with a rounded, gentle tone free of harsh edges.

Noble and Sentimental Waltzes, No. 4, Assez animé (fairly lively)Maurice Ravel83rank/position

Ravel, Valses nobles et sentimentales, No.4 Assez Animé

Maurice Ravel’s suite Valses nobles et sentimentales, written in homage to Schubert, contains many captivating pieces that blend traditional waltz idioms with a modern sensibility, and this particular number stands out for its verve and wit.

At the premiere in May 1911, the composer’s name was withheld, and there’s a charming anecdote that the audience tried to guess the author.

The orchestral version was staged as the ballet Adélaïde, ou le langage des fleurs, depicting the romantic intrigues of 1820s Paris.

If you imagine the give-and-take of love conveyed through the language of flowers, you’ll sense that “this sonority is more than merely elegant.” The key is to play the dense chords with lightness through the right hand’s virtuosic motion.

It’s a work that anyone seeking expression beyond classical boundaries should experience.

Noble and Sentimental Waltzes, Waltz No. 5, Presque lent in E majorMaurice Ravel84rank/position

Valses nobles et sentimentales (version for piano) : V. Presque lent, dans un sentiment intime

It is a particularly introspective piece from the suite Valses nobles et sentimentales.

There is an anecdote that at its premiere in May 1911—an anonymous concert of new works—many critics nevertheless recognized the composer as Maurice Ravel.

Marked “avec une émotion intime” (“with intimate feeling”), the music is suffused with a very private atmosphere, like a whispered inner dialogue.

Its melody, ebbing and flowing like waves, feels like a sigh, like a secret longing, quietly drawing close to the listener’s heart.

It is perfect for those who wish to deepen their delicate touch and expressive nuance.

Cherish its sentimental, beautiful world, and play with rounded, gentle tones, carefully and tenderly.

Genteel and Sentimental Waltz: No. 6, Vif (Lively)Maurice Ravel85rank/position

Valses nobles et sentimentales (version for piano) : VI. Vif

It’s a piece from a suite composed by Maurice Ravel in the manner of Schubert’s waltzes.

Like a kaleidoscope that constantly shifts its expression, it brims with a lively, slightly mischievous character.

At its premiere in May 1911, the composer’s name was withheld, and its novelty was such that many in the audience could not guess the author.

The work was later used as music for the ballet Adélaïde ou le langage des fleurs.

It feels as though it depicts a somewhat thrilling and humorous ballroom scene.

The key is to bring out the rhythmic intrigue by consciously contrasting light staccato with smooth legato.

Though short, it is rewarding to play and perfect for those who want to broaden their expressive range.

「Bolero」Maurice RavelMaurice Ravel/NHK kōkyōgakudan Rorin Mazēru shiki86rank/position

Ravel Bolero

Among Japanese symphony orchestras, the NHK Symphony Orchestra (N-Kyō) has an especially large fan base.

Known for a uniquely clear, crystal-like tone that reflects its Japanese roots, it also enjoys a strong following overseas, making it truly one of the country’s top ensembles.

Their performance of Ravel’s Boléro is conducted by Lorin Maazel, a maestro with a huge international following across major orchestral recordings.

The result is a piece that is highly refined yet, in the middle sections, features some of Maazel’s signature, brisk driving—an elegant yet playfully surprising rendition.

「Bolero」Maurice RavelMaurice Ravel/Denmāku Kokuritsu Hōsō Kōkyōgakudan Seruju Cheribidakke shiki87rank/position

Ravel – Bolero. Sergiu Celibidache 1971

Beginning with the regular melody of this Boléro, he was a composer who paid extraordinary attention to detail, was highly rational, and yet possessed remarkable expressive power—traits that have led to him being called an “exemplary composer.” He has also been dubbed a “genius of orchestration” and a “magician of the orchestra,” and Igor Stravinsky, the contemporary Russian composer known for The Rite of Spring and The Firebird, referred to him as a “Swiss watchmaker.” This is a slightly older performance from 1971.

「Bolero」Maurice RavelMaurice Ravel/Fransu Kokkuri Kagengakudan Rorin Mazeeru shiki88rank/position

Ravel: Boléro (Orchestre National de France)

Maurice Ravel’s ballet music Boléro by the French composer.

While an unchanging triple-meter rhythm is maintained throughout, two types of melodies are repeated and layered as the instrumentation changes, creating a distinctive sound structure reminiscent of ocean waves.

Premiered in 1928, it remains widely loved not only by ballet enthusiasts but as a classic masterpiece.

Boléro can differ greatly depending on the performer.

First, we will introduce Ravel’s Boléro in various interpretations by different performers, followed by related works.

Here is a performance by the Orchestre National de France under the baton of Lorin Maazel—renowned for his delicate yet dynamic conducting that evokes vast landscapes—recorded in September 1981.

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「Bolero」Maurice RavelMaurice Ravel/Furansu Kokuritsu Kangen Gakudan (Furasshu Mobu @ Eki)89rank/position

[flash mob] Bolero , the world’s best flash mob

Here’s another rendition of Maurice Ravel’s Boléro.

At first glance, they might look like a bunch of amateurs who just showed up with their instruments, but look closer and you’ll see unbelievably exceptional performance skills.

In fact, this is a flash-mob performance by members of the Orchestre National de France.

Don’t miss this astonishing street performance, which has been filmed and shared countless times around the world! “Well, if the Orchestre National de France suddenly started playing in the street… of course everyone would be shocked!”

「Bolero」Maurice RavelMaurice Ravel/berurin firuhāmonī kangengakudan heruberuto fon karayan shiki90rank/position

Ravel – Boléro, Karajan, Berlin Philharmonic, 1985

The exhilaration that Boléro brings to its audience is known to be exceptionally high—especially compared to other works—thanks to its regular repetition of phrases, its steady rhythmic recurrence, and the finely crafted design of the overall sound.

This is powerfully and dynamically performed by the Berlin Philharmonic under Herbert von Karajan in the New Year’s Eve Concert 1985.

Please enjoy this performance from the very heartland of classical music: December 31, 1985, at the Berlin Philharmonie.