This is a complete list of compositions by Maurice Ravel , initially categorized by genre, and sorted within each genre chronologically in order of date the composition was completed. Catalogue "M" numbers were assigned by the musicologist Marcel Marnat according to date of composition. Arrangements by Ravel of his own works were assigned the "M" number of the original followed by a letter (a, b, c, etc.). Arrangements by Ravel of other composers' works or of "traditional" music were assigned a separate "MA" number, in order of date of arrangement.
M. | Title | Scoring | Date | Notes |
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Orchestra | ||||
43a | Une Barque sur l'océan | Orchestra | 1906 | Orchestration of M. 43 No. 3; 1st version |
54 | Rapsodie espagnole
| Orchestra | 1907 | |
A15 | Nikolai Rimsky-Korsakov: Antar | Orchestra | 1909 | Incidental music to a 5-act play by Chékry-Ganem; partial reorchestration of most of the symphonic poem Antar Op. 9, the movements reordered and interspersed with reorchestrated fragments of the same work, a fragment of the opera Mlada, orchestrated fragments of songs from the Romances Op. 4 and Op. 7, and an extract from Félicien David's composition Le Désert, all included as the basis for new music by Ravel mostly in the style of Rimsky-Korsakov used as interconnecting pieces with the larger Antar movements;
|
19a | Pavane pour une infante défunte | Orchestra | 1910 | Orchestration of M. 19 |
57a | Daphnis et Chloé Suite No. 1
| Orchestra | 1911 | Extracted and arranged from the ballet M. 57 |
60a | Ma mère l'Oye | Orchestra | 1911 | Orchestration of M. 60 |
A18 | Erik Satie: Préludes pour Le Fils des étoiles | Piano | 1910–11 | originally for piano, new orchestration of No. 1;
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57b | Daphnis et Chloé Suite No. 2
| Orchestra | 1913 | Extracted and arranged from the ballet M. 57 |
A19 | Modest Mussorgsky: Khovanshchina , opera | Orchestra | 1913 | Orchestration completed, some parts re-orchestrated, and edited, in collaboration with Igor Stravinsky from the score by Nikolai Rimsky-Korsakov |
A20 | Frédéric Chopin: Les Sylphides , ballet
| Orchestra | 1914 | New orchestration of various piano pieces arranged as a ballet for Vaslav Nijinsky's new ballet company; [1]
|
A21 | Robert Schumann: Carnaval, ballet
| Orchestra | 1914 | New orchestration of the suite for piano Op. 9 for Vaslav Nijinsky's new ballet company;
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43c | Alborada del gracioso | Orchestra | 1918 | Orchestration of M. 43 No. 4 |
A23 | Emmanuel Chabrier: Menuet pompeux | Orchestra | 1917–18 | No. 9 of Pièces pittoresques ; originally for piano, orchestration for the Sergei Diaghilev ballet Las Meninas (Les Jardins d'Aranjuez) |
68a | Le Tombeau de Couperin
| Orchestra | 1919 | Orchestration of 4 pieces (reordered) from M. 68 |
A24 | Modest Mussorgsky: Tableaux d'une exposition ( Pictures at an Exhibition ), suite | Orchestra | 1922 | Originally for piano, orchestration (omitting the last "Promenade") |
A25 | Claude Debussy: Sarabande | Orchestra | 1922 | No. 2 of Pour le piano , originally for piano, orchestration;
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A26 | Claude Debussy: Danse (Tarantelle styrienne) | Orchestra | 1922 | Originally for piano, orchestration;
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43b | Une Barque sur l'océan | Orchestra | 1926 | Orchestration of M 43 No. 3; revised version;
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7a | Menuet antique | Orchestra | 1929 | orchestration of M 7 |
Concertante | ||||
66 | Zaspiak-Bat | Piano and orchestra | 1913–14 | Based on Basque themes;
|
76a | Tzigane, Rapsodie de concert | Violin and orchestra | 1924 | Orchestration of M 76 |
82 | Concerto for the Left Hand (in D major) | Piano and orchestra | 1929–30 | |
83 | Concerto in G (major) | Piano and orchestra | 1929–31 | |
Chamber | ||||
12 | Sonate (No. 1)
| Violin and piano | 1897 | 1st movement only;
|
35 | String Quartet in F major
| String quartet | 1902–03 | |
46 | Introduction et Allegro | Harp, flute, clarinet, and string quartet | 1905 | |
67 | Trio in A minor
| Piano, violin, and cello | 1914 | |
73a | Duo for Le Tombeau de Claude Debussy | Violin and cello | 1920 | No. 1 of the multi-composer collection; early version of Allegro (1st) movement of Sonate M 73 |
73 | Sonate (in A minor)
| Violin and cello | 1920–22 | |
74 | Berceuse sur le nom de Gabriel Fauré | Violin and piano | 1922 | |
76b | Tzigane | Violin and piano with luthéal attachment | 1922–24 | Alternate original version of M 76 |
76 | Tzigane | Violin and piano | 1922–24 | |
77 | Sonate (No. 2) in G major
| Violin and piano | 1923–27 | |
Piano solo | ||||
1 | Piano Sonata
| Piano | 1888 | 1st movement only;
|
2 | Variations on a Theme of Grieg | Piano | 1888 | Theme: Death of Åse from Peer Gynt ;
|
3 | Variations on a Theme of Schumann | Piano | 1888 | Theme: Chorale Freu dich, o meine Seele from "Album for the Young", Op. 68;
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5 | Sérénade grotesque | Piano | 1892–93 |
|
7 | Menuet antique | Piano | 1895 | |
11 | La Parade , ballet | Piano | 1896 |
|
14 | Valse in D major | Piano | 1898 |
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19 | Pavane pour une infante défunte | Piano | 1899" | |
20 | Fugue | Piano | 1899" |
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23 | Fugue in D major | Piano | 1900 |
|
24 | Fugue à quatre voix on a theme of Reber in F major | Piano | 1900 |
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26 | Prélude et Fugue | Piano | 1900 |
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27 | Fugue in F major | Piano | 1900 |
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30 | Jeux d'eau | Piano | 1901 | |
32 | Fugue in B♭ major | Piano | 1902 |
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A3 | Frederick Delius: Margot la Rouge, opera | Piano | 1902 | Reduction of orchestra part for piano |
36 | Fugue in E minor | Piano | 1903 |
|
42 | Menuet in C♯ minor | Piano | 1904 | |
40 | Sonatine
| Piano | 1903–05 | First movement written for a competition sponsored by a Parisian magazine [6] |
43 | Miroirs
| Piano | 1904–05 | |
44 | Fugue in C major | Piano | 1905 |
|
55 | Gaspard de la nuit
| Piano | 1908 | Based on 3 poems by Aloysius Bertrand |
58 | Menuet sur le nom d'Haydn | Piano | 1909 | |
A15a | Nikolai Rimsky-Korsakov: Antar, incidental music | Piano | 1909 | Reduction for piano of M. A15 |
57d | Daphnis et Chloé, ballet | Piano | 1910 | original version for piano of M. 57 |
61 | Valses nobles et sentimentales | Piano | 1911 | |
57c | Danse gracieuse de Daphnis, suite
| Piano | 1913 | Transcription from Daphnis et Chloé ballet M. 57 |
63 | À la manière de... | Piano | 1912–13 | The Chabrier piece is a paraphrase on an aria from Gounod's Faust |
65 | Prélude | Piano | 1913 | |
68 | Le Tombeau de Couperin
| Piano | 1914–17 | |
72b | La Valse | Piano | 1920 | Transcription of M. 72 |
80b | Fanfare for L'éventail de Jeanne , children's ballet | Piano | 1927 | Reduction for piano of M. 80 |
81a | Boléro | Piano | 1929 | Transcription of M. 81 |
Piano duet | ||||
A1 | Camille Saint-Saëns: La jeunesse d'Hercule, symphonic poem, Op. 50 | Piano four hands | 1887 | Originally for orchestra, arrangement |
8 | Habanera | Two pianos | 1895 |
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13 | Entre Cloches | Two pianos | 1897 |
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17a | Shéhérazade | Piano four hands | 1898 | Original version of Overture M. 17 |
A2 | Claude Debussy: Sirènes | Two pianos | 1902 | No. 3 of Nocturnes; originally for orchestra and female chorus, arrangement; 1st version |
54a | Rapsodie espagnole
| Two pianos | 1907 | Original version of M. 54;
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56 | Pavane de la Belle au bois dormant | Piano four hands | 1908 | Inspired by Charles Perrault;
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A14 | Claude Debussy: Trois nocturnes
| Two pianos | 1909 | Originally for orchestra, arrangement; composed with Debussy's stepson and pupil Raoul Bardac; III. Sirènes, 2nd version |
60 | Ma mère l'Oye ("Mother Goose"), children's pieces
| Piano four hands | 1908–10 | Inspired by the tales of Charles Perrault and Madame d'Aulnoy;
|
A16 | Claude Debussy: Prélude à l'après-midi d'un faune | Piano four hands | 1910 | Originally for orchestra, transcription |
70 | Frontispice | Two pianos five hands | 1918 | For S.P. 503: Le Poème du Vardar by Ricciotto Canudo |
72a | La Valse | Two pianos | 1920 | Transcription of M. 72 |
80a | Fanfare | Piano four hands | 1927 | Transcription of M. 80 |
81b | Boléro | Piano four hands | 1929 | Transcription of M. 81 |
82a | Concerto for the Left Hand | Two pianos | 1930 | Reduction of orchestra part of M. 82 for piano |
83a | Concerto in G | Two pianos | 1932 | Reduction of orchestra part of M. 83 for second piano |
Stage | ||||
17 | Shéhérazade, Ouverture de féerie | Orchestra | 1898 | Originally intended as an opera, after "One Thousand and One Nights";
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18 | Olympia | Opera | 1898–99" | After E. T. A. Hoffmann's Der Sandmann ("The Sandman");
|
52 | L'Heure espagnole ("The Spanish Hour") | Opera | 1907–11 | Libretto: Franc-Nohain |
49 | La Cloche engloutie ("The Sunken Clock") | Opera | 1906–12 | After Gerhart Hauptmann's Die versunkene Glocke;
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57 | Daphnis et Chloé | Ballet | 1909–12 | |
61a | Adélaïde ou le langage des fleurs (Adelaide, or The Language of Flowers) | Ballet | 1912 | Orchestration of Valses nobles et sentimentales M. 61 |
62 | Ma Mère l'Oye ("Mother Goose")
| Ballet | 1911–12 | Orchestral version (M. 60a) with new music added (2 new opening pieces plus 4 new interludes);
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72 | La Valse, Poème chorégraphique | Ballet | 1919–20 |
|
71 | L'Enfant et les sortilèges, Fantaisie lyrique ("The Child and the Spells"), operetta-ballet | 8 solo voices, mixed choir, children's choir, and orchestra with piano luthéal | 1917–25 | Libretto by Colette |
80 | Fanfare for L'éventail de Jeanne , children's ballet | Ballet with small orchestra | 1927 | No. 1 (Prélude) of the collective composition (by 10 French composers) |
81 | Boléro | Ballet | 1928 | |
85 | Morgiane, oratorio-ballet | Vocal soloists, choir, and orchestra | 1932 | Libretto after "One Thousand and One Nights";
|
84 | Don Quichotte à Dulcinée , song cycle
| Baritone and orchestra | 1933 | Text: Paul Morand, originally intended as film music for G.W. Pabst's 1933 film Don Quixote but Ravel's music was not used;
|
86 | Jeanne d'Arc ("Joan of Arc") | Opera | 1930s | After Joseph Delteil's Jeanne d'Arc, planned for the Paris Opéra;
|
Choral | ||||
22 | Callerhoe | Cantata | 1900 |
|
25 | Les Bayadères | Soprano, mixed choir, and orchestra | 1900 |
|
28 | Tout est lumière | Soprano, mixed choir, and orchestra | 1901 |
|
29 | Myrrha, cantata | Soprano, tenor, baritone, and orchestra | 1901 |
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31 | Semiramis | Cantata | 1902 |
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33 | La Nuit | Soprano, mixed choir, and orchestra | 1902 |
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34 | Alcyone | Soprano, alto, tenor, and orchestra | 1902 | Text by Eugène et Edouard Adenis;
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37 | Matinée en Provence | Soprano, mixed choir, and orchestra | 1903 |
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38 | Alyssa, cantata | Soprano, tenor, baritone, and orchestra | 1903 | Text by Marguerite Coiffier;
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45 | L'Aurore | Tenor, mixed choir, and orchestra | 1905 |
|
59 | Saint François d'Assise | Soloists, choir, and orchestra | 1909–10 |
|
69 | Trois chansons
| Mixed choir | 1914–15 | Lyrics by Ravel |
Solo voice with orchestra | ||||
39a | Manteau des fleurs | Voice and orchestra | 1903? | Orchestration of M. 39 |
41 | Shéhérazade, poems
| Soprano/tenor and orchestra | 1903 | Text: Tristan Klingsor |
47a | Noël des jouets | Voice and orchestra | 1906 | Orchestration of M. 47; 1st version |
47b | Noël des jouets | Voice and orchestra | 1913 | Orchestration of M. 47; revised version |
64 | Trois poèmes de Stéphane Mallarmé, song cycle
| Medium voice, piccolo, 2 flutes, clarinet, bass clarinet, string quartet, and piano | 1913 | Text: Stéphane Mallarmé |
78 | Chansons madécasses ("Madagascan Songs"), song cycle
| Soprano, flute, cello, and piano | 1925–26 | Text: Evariste-Désiré Parny de Forges |
75a | Ronsard à son âme | Voice and orchestra | 1935 | Orchestration of M. 75 |
Solo voice with piano | ||||
4 | Ballade de la reine morte d'aimer, song | Voice and piano | 1893 | Text: Roland de Marès |
6 | Un grand sommeil noir, song | Deep voice and piano | 1895 | Text: Paul Verlaine |
9 | Sainte, song | Voice and piano | 1896 | Text: Stéphane Mallarmé |
10 | D'Anne jouant l'espinette, song | Voice and harpsichord/piano | 1896 | Text: Clément Marot |
15 | Chanson du rouet, song | Voice and piano | 1898 | Text: Leconte de Lisle |
16 | Si Morne!, song | Voice and piano | 1898 | Text: Émile Verhaeren |
21 | D'Anne qui me jecta de la neige, song | Voice and piano | 1899" | Text: Clément Marot |
39 | Manteau des fleurs, song | Voice and piano | 1903 | Text by Paul Gravollet[[ |
A4 | Quel galant m'est comparable, song | Voice and piano | 1904 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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A5 | Chanson des cueilleuses de lentisques, song | Voice and piano | 1904 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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A6 | À vous, oiseaux des plaines, song | Voice and piano | 1904 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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A7 | Chanson du pâtre épirote, song | Voice and piano | 1904 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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A8 | Mon mouchoir, hélas, est perdu, song | Voice and piano | 1904 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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47 | Noël des jouets ("The Toys' Christmas"), song | Voice and piano | 1905 | Lyrics by Ravel |
48 | Les grands Vents venus d'outre-mer, song | Voice and piano | 1906 | Text: Henri de Régnier |
50 | Histoires naturelles ("Natural Histories"), song cycle
| Medium voice and piano | 1906 | Text: Jules Renard |
A9 | Chanson de la mariée, song | Voice and piano | 1905–06 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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A10 | Là-bas, vers l'église, song | Voice and piano | 1905–06 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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A11 | Tout gai!, song | Voice and piano | 1905–06 | Text: Greek traditional, in French translation by Michel-Dimitri Calvocoressi;
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51 | Vocalise-étude en forme de habanera, song | Deep voice and piano | 1907 | |
53 | Sur l'herbe, song | Voice and piano | 1907 | Text: Paul Verlaine |
A12 | Chanson écossaise: Ye banks and braes o' bonnie Doon ("Scottish Song"), song | Voice and piano | 1909 | Text: Robert Burns, in English |
A13 | Tripatos: Kherya pou dhen idhen ilyos, song | Voice and piano | 1909 | Text: Greek traditional, in Greek |
A17 | Chants populaires ("Folk Songs"), songs
| Medium voice and piano | 1910 | 1. Text: Spanish traditional, in Galician; 2. Text: French traditional, in Limousin; 3. Text: Italian traditional, in Italian; 4. Text: Hebrew traditional, in Yiddish and Hebrew |
64a | Trois poèmes de Stéphane Mallarmé, song cycle | Voice and piano | 1913 | Transcription of M. 64 |
A22 | Deux mélodies hébraïques ("Two Hebrew Songs"), songs
| Voice and piano | 1914 | 1. Text: Hebrew traditional, in Aramaic; 2. Text: Hebrew traditional, in Yiddish |
69a | Trois chansons | Medium voice and piano | 1915 | Arrangement of M. 69 |
75 | Ronsard à son âme, song | Voice and piano | 1923–24 | Text: Pierre de Ronsard |
79 | Rêves, song | Voice and piano | 1927 | Text: Léon-Paul Fargue |
84a | Don Quichotte à Dulcinée , song cycle | Baritone and piano | 1932–33 | Original version of M. 84 |
George Gershwin was an American composer and pianist whose compositions spanned popular, jazz and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs "Swanee" (1919) and "Fascinating Rhythm" (1924), the jazz standards "Embraceable You" (1928) and "I Got Rhythm" (1930), and the opera Porgy and Bess (1935), which included the hit "Summertime".
Joseph Maurice Ravel was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.
Gabriel Urbain Fauré was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
In music, the opus number is the "work number" that is assigned to a musical composition, or to a set of compositions, to indicate the chronological order of the composer's publication of that work. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. Opus numbers do not necessarily indicate chronological order of composition. For example, posthumous publications of a composer's juvenilia are often numbered after other works, even though they may be some of the composer's first completed works.
Pictures at an Exhibition is a piano suite in ten movements, plus a recurring and varied Promenade theme, written in 1874 by Russian composer Modest Mussorgsky. It is a musical depiction of a tour of an exhibition of works by architect and painter Viktor Hartmann put on at the Imperial Academy of Arts in Saint Petersburg, following his sudden death in the previous year. Each movement of the suite is based on an individual work, some of which are lost.
Sonatine is a piano work written by Maurice Ravel. Although Ravel wrote in his autobiography that he wrote the sonatina after his piano suite Miroirs, it seems to have been written between 1903 and 1905. He most likely referred to the dates he finished both of the works.
Maurice Ravel's Piano Trio for piano, violin, and cello is a chamber work composed in 1914. Dedicated to Ravel's counterpoint teacher André Gedalge, the trio was first performed in Paris in January 1915, by Alfredo Casella (piano), Gabriel Willaume (violin), and Louis Feuillard (cello). A typical performance of the work lasts about 30 minutes.
Manuel Rosenthal was a French composer and conductor who held leading positions with musical organizations in France and America. He was friends with many contemporary composers, and despite a considerable list of compositions is mostly remembered for having orchestrated the popular ballet score Gaîté Parisienne from piano scores of Offenbach operettas, and for his recordings as a conductor.
The Oboe Concerto in D minor, S D935, is an early 18th-century concerto for oboe, strings and continuo attributed to the Venetian composer Alessandro Marcello. The earliest extant manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto, BWV 974, dates from around 1715. As a concerto for oboe, strings and continuo group, its oldest extant sources date from 1717: that year it was printed in Amsterdam, and a C minor variant of the concerto, S Z799, was written down.
The Hoboken catalogue is a catalogue of the musical compositions by Joseph Haydn compiled by Anthony van Hoboken. It is intended to cover the composer's entire oeuvre and includes over 750 entries. Its full title in the original German is Joseph Haydn, Thematisch-bibliographisches Werkverzeichnis. The Haydn catalogue that now bears Hoboken's name was begun in card format in 1934; work continued until the publication of the third and final book volume in 1978.
Frédéric Chopin's waltzes are pieces of moderate length for piano, all written between 1824 and 1849. They are all in waltz triple meter, specifically 3/4, but differ from earlier Viennese waltzes in not being intended for dancing; nonetheless, several have been used in ballets, most notably Les Sylphides. Some are accessible by pianists of modest capability, others require advanced technique.
Introduction and Allegro for Harp, Flute, Clarinet and String Quartet is a chamber work by Maurice Ravel. It is a short piece, typically lasting between ten and eleven minutes in performance. It was commissioned in 1905 by the Érard harp manufacturers to showcase their instruments, and has been described as a miniature harp concerto. The premiere was in Paris on 22 February 1907.
This article gives an overview of various catalogues of classical compositions that have come into general use.
The Sonata for Violin and Cello is a composition written by Maurice Ravel from 1920 to 1922. He dedicated it to Claude Debussy, who had died in 1918. It premiered on 6 April 1922 with Hélène Jourdan-Morhange playing the violin and Maurice Maréchal the cello. It is in the key of A minor, with the fourth movement in the relative major key of C. It is M. 73 in the catalogue compiled by Marcel Marnat.
The Sarabandes are three dances for solo piano composed in 1887 by Erik Satie. Along with the famous Gymnopédies (1888) they are regarded as his first important works, and the ones upon which his reputation as a harmonic innovator and precursor of modern French music, beginning with Debussy, principally rests. The Sarabandes also played a key role in Satie's belated "discovery" by his country's musical establishment in the 1910s, setting the stage for his international notoriety.
Trois poèmes de Mallarmé is a sequence of three art songs by Maurice Ravel, based on poems by Stéphane Mallarmé for soprano, two flutes, two clarinets, piano, and string quartet. Composed in 1913, it was premiered on 14 January 1914, performed by Rose Féart and conducted by D.-E. Inghelbrecht, at the inaugural concert of the société musicale indépendante of the 1913–1914 season in the Salle Érard in Paris.
Trois Chansons, M 69, is a composition by Maurice Ravel for a cappella choir, set to his own texts. Ravel began the composition in December 1914 in response to the outbreak of World War I, in which he hoped to be enlisted to fight for France. While he waited for months, he wrote text and music of the three songs in the tradition of 16th-century French chansons. He completed the work in 1915, and it was published by Éditions Durand in 1916. The songs were premiered in 1917, performed by a choral ensemble conducted by Louis Aubert. They remained his only composition for a cappella choir.
An autograph or holograph is a manuscript or document written in its author's or composer's hand. The meaning of "autograph" as a document penned entirely by the author of its content overlaps with that of "holograph".
Deux mélodies hébraïques is a composition of two traditional Hebrew melodies for voice and piano by Maurice Ravel. It was written in 1914.