The sounds made by water – those of fountains, waterfalls and streams – were a popular subject in musical impressionism. Liszt had already explored this in his “Jeux d’eaux à la Villa d’Este”, and it was also a subject that inspired Ravel. At the same time he broke fresh compositional ground: in his “Jeux d’eau” he developed a kind of floating harmony and created new tonal effects. These shimmering tone paintings are among the first of our Urtext editions by this important French master. In order to provide musicians with a first-rate engraving for this highly complex music, we have slightly increased our Urtext format – and can thus guarantee excellent readability.
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Looking back upon his early years, Maurice Ravel acknowledged in his autobiographical sketch of 1928 that “the Jeux d’eau […] stand at the beginning of all the pianistic innovations that have been noted in my work. Inspired by the sound of water and the musical sounds emanating from fountains, waterfalls and brooks, they are based on two motifs, in the style of a … 계속
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Maurice Ravel
Together with Satie and Debussy, Ravel numbers among the innovators who had a falling out with academic education and created their own avant-garde tonal languages – inspired, in Ravel’s case, by Russian and Spanish music, but also by exoticism – without abandoning tonality. This master of orchestration begins with piano works, which he orchestrates; songs with piano and piano compositions exist on an equal footing in orchestral versions.
| 1875 | Born in Ciboure on March 7; the family moves to Paris that same year. |
| 1882 | Lessons in piano, theory, and composition. |
| 1889 | Beginning of his studies at the Conservatoire de Paris, from which he will never graduate. |
| 1901 | “Jeux d’eau” for piano, in a new “Impressionist” tonal language, as is “Miroirs” (1904–05). |
| 1903 | “Shéhérazade” for voice and piano/orchestral accompaniment with orientalist tonal elements. |
| 1905 | Scandal surrounding Ravel’s third application for the Prix de Rome. |
| 1907 | Premiere of the “Histoires naturelles” after Jules Renard provokes astonishment in audiences and critics. |
| 1907–08 | Rhapsodie espagnole for orchestra. |
| 1908/10 | “Ma mère l’oye” (“Mother Goose”) for piano, four-hands, as a ballet in 1911. |
| 1911 | Premiere in Paris of his opera “L’Heure espagnole.” |
| 1911/12 | “Valses nobles et sentimentales” for piano/orchestra. Premiere of the ballet “Daphnis et Chloé” in 1912. |
| 1914/19 | “Le tombeau de Couperin” for piano/orchestra anticipates the coming neoclassicism. |
| from 1920 | Many concert tours through Europe and the United States. |
| 1925 | Premiere of his opera “L’Enfant et les sortilèges.” |
| 1928 | Conferral of an honorary doctorate from Oxford University. “Bolero” for orchestra. |
| 1929–31 | Piano Concerto in G major with elements of jazz. |
| 1937 | Death in Paris on December 28. |
Möglich, dass man sich bei Henle schon seit Jahren darauf gefreut hat, endlich “Ravel machen zu dürfen”. Entsprechend großzügig zeigt sich der Verlag auch und hat – um dieser hochkomplexen Musik ein optimales Druckbild bieten zu können – zum ersten Mal sein Urtextformat etwas vergrößert. Wer sein Henle-Regal vom Schreiner auf Maß hat fertigen lassen, der wird jetzt möglicherweise fluchen. Alle anderen freuen sich über die beste Ausgabe von Ravels Klaviermusik, die zurzeit für Geld zu haben ist …