In 1908, Ravel was discovered by the regular concert going public. The "Spanish Rhapsody" is a revelation with the dazzling-as yet unheard of sonorities of the orchestra, the stupendous freedom of the rhythms, the feverish poesy of the "Prelude to the Night" the colour of the "Malaguena," the bewitchment of the bauera" and the alternatively mysterious, brutal and restless spirit of the astonishing "For And yet it is again from Spain that Our musician borrowed the subject of another work, but no longer from dancing Spain as before. He now turned to Spanish comedy and his "Spanish Hour" represents the revival of the Opera Bouffe, the revival of musical comedy.
Yet another Ravel appears in "Daphnis and Chloe." This touching yet common-place fable of antiquity Wafts forth expanding melody, tender gravity and the glow of discreet emotion.
Is it really necessary to mention the "Introduction and Allegro for harp and orchestra" where the main instrument, in a glowing halo, soars up in sonorities of such poetical tensity.? Is it necessary to ment his "Noble and Sentimental Waltzes and his Waltz for orchestra calling up the magnificent pageantry of the balls of the Second Empire, a regular hymn to the joy of being alive? What about the "Tomb of Couperin," the Concerto for piano, the concerto for the left hand and lastly the "Trio," that bear witness to the maestro's will of classicism. And the "Madecassée and Hebrew melodies," the "Tsigane," and the "Bolero," the famous Bolero, apotheosis of rhythm, of a rhythm that haunts the auditor with a besetting importunity.
So rapid a sketch can give but an incomplete idea of the magnificent work of so versatile a genius. Yet were it to ascertain the particular place occupied by Ravelian Art not only in French music but in music, as a whole, its aim would have been reached.
Text read from the printed page and cleaned; old type leaves the occasional error.