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Ravel completely reworked his idea of Wien into what became La valse, which was to have been written under commission from Serge Diaghilev as a ballet. However, he never produced the ballet. [6] After hearing a two-piano reduction performed by Ravel and Marcelle Meyer, Diaghilev said it was a "masterpiece" but rejected Ravel's work as "not a ...
The Ravel scholar Roger Nichols considers the cycle "an important step in Ravel's evolution, as significant of those of Jeux d'eau and Miroirs". [10] Johnson also quotes Vuillermoz 's recollections of Ravel's own vocal mannerism of letting his voice fall a fourth or fifth at the end of a phrase – which occurs in many places in both Histoires ...
The exhibition came fully into its own in the 19th century, but various temporary exhibitions had been held before that, especially the regular displays of mostly new art in major cities. The Paris Salon of the Académie des Beaux-Arts was the most famous of these, beginning in 1667, and open to the public from 1737.
In 1874, a few artists met at the cafe to plan the first Impressionism painting exhibition. [2] Degas painted L'Absinthe in this place. Another notable denizen was the eccentric composer Erik Satie , who played the piano in the cafe, and was there introduced to a fifteen-year-old Maurice Ravel by Ravel's father.
Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity. His mastery of orchestration is evident in the Rapsodie espagnole , Daphnis et Chloé , his arrangement of Modest Mussorgsky 's Pictures at an Exhibition and his orchestral work Boléro (1928).
Ida Rubenstein in Nijinska's Boléro Rubinstein in 1922 Ravel in 1925. The dancer Ida Rubinstein formed a ballet company in 1928, with Bronislava Nijinska named as its choreographer. Rubinstein quickly arranged for Maurice Ravel to compose music for her new dance enterprise. By luck or genius, one of Ravel's pieces became popular immediately ...
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Ravel made orchestral versions of piano works by Schumann, Chabrier, Debussy and Mussorgsky's piano suite Pictures at an Exhibition. Orchestral versions of the last by Mikhail Tushmalov , Sir Henry Wood and Leo Funtek predated Ravel's 1922 version, and many more have been made since, but Ravel's remains the best known. [ 216 ]