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 Famous and Representative Works (31–40)
Noble and Sentimental Waltzes: Waltz No. 2, Assez lent (fairly slow), G minorMaurice Ravel
A work with an introspective atmosphere that feels like peering into the depths of the heart, it is included in Maurice Ravel’s suite Valses nobles et sentimentales.
There’s an anecdote that it was performed at a private concert in 1911 with the composer’s identity kept secret.
Within the gently flowing time, noble yet sentimental melodies emerge, as if quietly staying close to the listener’s heart.
The traditional waltz rhythm hides some unexpectedly piquant sonorities that seem to express unspoken, complex emotions.
It’s a perfect piece for those who want to learn about subtle changes in tone color and long-breathed phrasing.
The key is to play as if breathing, imbuing each note with intention so as not to break the work’s mysterious atmosphere.
Noble and Sentimental Waltzes: No. 3 Waltz, Modéré in G majorMaurice Ravel
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 Ravel
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 Ravel
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 Ravel
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.
[Maurice Ravel] Introducing Famous and Representative Works (41–50)
Minuet on the Name of HaydnMaurice Ravel
A piano solo piece composed in 1909.
That year marked the 100th anniversary of Haydn’s death, and a Parisian music magazine commissioned Ravel, Debussy, and others to write piano pieces in homage to Haydn, with the condition that they use the motif formed by converting HAYDN into note names—Si, La, Re, Re, Sol.
Strictly speaking, the note-naming system has no Y or N, but according to a substitution table (a kind of cipher), Y is treated like D (Re) and N like G (Sol), thereby establishing the motif’s sequence.
Sonatina Op. 40, Movement II: MinuetMaurice Ravel
Sonatine M.40 was written for a composition competition hosted by a certain magazine.
The work was later dedicated to a pair of Polish brothers whom Maurice Ravel was fond of.
Following the first movement, composed in sonatina form, the second movement is a beautiful piece whose delicate, faintly colored melodies evoke a range of emotions—yearning, loneliness, joy, and more.
The key to performance is to play with ease while avoiding brusqueness, paying close attention to the score’s subtle expressive markings.
