The Ballets of Maurice Ravel Creation and Interpretation 1st Edition by Deborah Mawer ISBN 1351546031 9781351546034

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ISBN 10: 1351546031 
ISBN 13: 9781351546034
Author: Deborah Mawer

Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time, including Diaghilev, Ida Rubinstein, Benois and Nijinsky. In this book, the first study dedicated to Ravel’s ballets, Deborah Mawer explores these relationships and argues that ballet music should not be regarded in isolation from its associated arts. Indeed, Ravel’s views on ballet and other stage works privilege a synthesized aesthetic. The first chapter establishes a historical and critical context for Ravel’s scores, engaging en route with multimedia theory. Six main ballets from Daphnis et Chlo hrough to Bol are considered holistically alongside themes such as childhood fantasy, waltzing and neoclassicism. Each work is examined in terms of its evolution, premiere, critical reception and reinterpretation through to the present; new findings result from primary-source research, undertaken especially in Paris. The final chapter discusses the reasons for Ravel’s collaborations and the strengths and weaknesses of his interpersonal relations. Mawer emphasizes the importance of the performative dimension in realizing Ravel’s achievement, and proposes that the composer’s large-scale oeuvre can, in a sense, be viewed as a balletic undertaking. In so doing, this book adds significantly to current research interest in artistic production and interplay in early twentieth-century Paris.

The Ballets of Maurice Ravel Creation and Interpretation 1st Table of contents:

1 Cultural and critical backdrop
Historical context and collaborative ballet network
Ravel’s writings on stage works: ballet and opera
Creative–interpretative (poietic–esthesic) interactions
Relations between balletic elements
2 Childhood fantasy and exoticism: Ma Mère l’Oye and L’Enfant
Fairytale sources and musical evolution
Ravel’s derived scenario
Musical literalism in portraying scenario: ‘Danse du rouet’
Balletic collaboration (Drésa and Hugard)
The premiere and its critical reception
Selected later productions (Leyritz and Bolender)
Postlude: L’Enfant et les sortilèges
3 Greekness and myth in Daphnis et Chloé
Dramatis personae and collaborative intrigue
Fokine–Ravel scenario
Fokine–Ravel collaboration and aesthetic connection
The challenge of endings for Ravel and Fokine
‘The past is a foreign country’ Ancient Greekness in Daphnis et Chloé
Antitheses of emotion and character
Selected interwar productions
Selected productions after the Second World War
Contemporary Greekness: Ashton, Fonteyn and more myth
4 Essays on the waltz I: Adélaïde ou le langage des fleurs (Valses nobles)
Genesis, orchestration and further evolution
Extra-musical themes of Valses nobles−Adélaïde
Ravel’s scenario for Adélaïde
Ravel’s scenario annotations and the score of Valses nobles
Balletic collaboration (Drésa and Trouhanova)
Premiere, contemporary criticism and interpretation
Later productions and interpretations
5 Essays on the waltz II: La Valse and epilogue
Prewar genesis of La Valse
Orchestration, balletic status and the Diaghilev fiasco
Ravel’s musical and orchestral style
Ravel’s scenario for La Valse
Choreographic developments and the Ballets Ida Rubinstein
The Parisian premiere and its critical interpretation
Revised Rubinstein productions
The classical choreographic reading of Ashton
Epilogue: the romantic reading of Balanchine, via Massine
6 Neoclassical divertissements: Le Tombeau de Couperin and ‘Fanfare’ from L’Eventail de Jeanne
Music and evolution of Le Tombeau
Balletic design and dance
The Ballets Suédois premiere and its critical reception
Balanchine’s geometric reading
Postscript: L’Eventail de Jeanne (Jeanne’s Fan) and Ravel’s ‘Fanfare’
7 Spain, machines and sexuality: Boléro
Genesis and evolution
Ravel’s aesthetic and compositional approach
Musical essence: construction/destruction
The premiere and further Rubinstein performances (Spanishness)
The Leyritz/Lifar wartime production (machines)
Béjart and beyond (gender and sexuality)
8 ‘Danse générale’: Ravel’s œuvre as ballet
Motivations and collaborative relations
Balletic relations in and across productions of works
Additional Ravel ballet repertory
Ravel ballet productions: highlights of time and place
The challenge of endings: no perfect cadence

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Tags: Deborah Mawer, Ballets, Maurice