Introducing Maurice Ravel’s Famous and Representative Works
Maurice Ravel, one of the most important figures in Impressionist music.
His works are meticulously crafted down to the finest details, grounded firmly in classical forms while blending in Impressionist expression.
As a result, his music has a uniquely singular character that only he could create.
He also arranged works by other composers for orchestra, and his outstanding orchestration earned him the nicknames “genius of orchestration” and “magician of the orchestra.”
In this article, we introduce Ravel’s masterpieces and signature works.
Even if you’re not familiar with classical music, there are pieces you have probably heard somewhere at least once.
Enjoy the many wonderful masterpieces of Ravel!
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[Maurice Ravel] Introducing Masterpieces and Signature Works (11–20)
An old-fashioned minuetMaurice Ravel
A piano solo piece from 1895, when Ravel was still 20.
It is still somewhat a study, and you don’t hear the impressionistic sonorities that would emerge later.
Ravel himself considered it “immature,” yet the fact that he arranged it for orchestra in 1929 suggests he still felt an affection for the work.
Piano Concerto for the Left HandMaurice Ravel
Composed at the request of the Austrian pianist Paul Wittgenstein, who had lost his right arm in World War I.
It has since become an important part of the repertoire for pianists with limited use of their right hand, but it is also frequently performed by pianists without such limitations.
In the second section of the three-part work, music reminiscent of jazz appears.
The piece demands virtuoso technique from the soloist.
mirrorMaurice Ravel
A work composed by Ravel in 1904–1905, when he was in his late twenties.
It is a suite for solo piano consisting of Moths, Sad Birds, A Boat on the Ocean, Alborada del gracioso, and The Valley of the Bells.
In particular, Alborada del gracioso is frequently performed, and Ravel himself arranged it for orchestra.
The performance here is by the French pianist Jean-Efflam Bavouzet, born in 1962, who has recorded Ravel’s complete piano works.
Vocalise in Habanera FormMaurice Ravel
A vocal piece by Ravel.
It prominently features the habanera rhythm, deeply influenced by Spain, creating a sensuous atmosphere.
Written in the “vocalise” style—sung on vowels alone—it has no lyrics, which all the more highlights the beauty of its melody.
Ravel’s delicate harmonies and smooth voice-leading captivate listeners and won’t let go.
Although composed for voice, it has been arranged for various instruments and is still widely performed today.
Combining exotic allure with technical intrigue, this song is well worth a listen.
Berceuse on the Name of FauréMaurice Ravel
Composed as a homage to Ravel’s esteemed senior colleague, Gabriel Fauré, this is an elegant piece of chamber music.
Premiered in Milan in October 1922, the work is a short piece for violin and piano.
Drawing cleverly on pitch material derived from Fauré’s full name, it shapes a gentle, lullaby-like melody.
The music unfolds a beautiful sound world where Ravel’s characteristic delicacy of technique fuses with profound respect for Fauré.
You may find it even more captivating if you listen to a few of Fauré’s works beforehand.
Please do give it a listen.
Song Cycle “Shéhérazade”Maurice Ravel
Ravel’s song cycle published in 1903 is a remarkable fusion of Eastern elements and Western music.
Comprised of three songs set to poems by Tristan Klingsor, it strongly reflects Orientalism and Impressionism.
It delicately portrays an exotic world: mystical Asian landscapes, the feelings of a girl listening to her lover’s flute, and the perspective of a woman gazing at an indifferent young man.
Ravel’s meticulous orchestration and richly colored music lead listeners into a fantastical Eastern realm.
It’s a highly recommended piece for those interested in foreign cultures or who enjoy finely nuanced emotional expression.
Introducing Maurice Ravel’s Famous and Representative Works (21–30)
Daphnis and ChloeMaurice Ravel
A ballet score composed between 1909 and 1912.
The complete version even includes chorus, but the First Suite and Second Suite, which are excerpts, are frequently performed as orchestral works.
The commission came from Diaghilev, who led the Ballets Russes, a company that was enjoying great success in Paris.
However, it is said that he considered the finished work to be insufficiently balletic—favoring melody over rhythm, among other things.
In fact, it has more often been presented not as ballet music but as an orchestral work.