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The Ballets of Maurice Ravel : Creation and Interpretation

By: (Author) Deborah Mawer

Manufacture on Demand

Ksh 27,000.00

Format: Hardback or Cased Book

ISBN-10: 0754630293

ISBN-13: 9780754630296

Publisher: Taylor & Francis Ltd

Imprint: Routledge

Country of Manufacture: GB

Country of Publication: GB

Publication Date: Jun 16th, 2006

Print length: 332 Pages

Weight: 635 grams

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Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time. This book explores these relationships and presents a study of Ravel's ballets from "Daphnis et Chloe" through to "Bolero". It argues that ballet music should not be regarded in isolation.
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 Chloé through to Boléro 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.

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