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Maurice Ravel (1875-1937) La Valse (waltz) Transcription 2 Pianos
00:00 La Valse, M. 72: Poème Chorégraphique Pour Orchestre. Transcription 2 Pianos
Piano: Éric & Tania Heidsieck
Recorded in 2002, at Paris
New mastering in 2026 by AB for https://classicalmusicreference.com/
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Ravel was a composer intimately connected with dance, which became an almost obsessive element of his musical universe. He did not confine himself to writing his choreographic poem for orchestra, *La Valse*, but also composed the *Valses nobles et sentimentales* for piano. In a similar vein, one might mention the immensely famous *Boléro*. Three other works also stand out as emblematic of his attraction to the world of dance: the *Pavane of Sleeping Beauty* from *Ma mère l’Oye*, the *Menuet* from *Le Tombeau de Couperin*, and his choreographic symphony *Daphnis et Chloé*.
As early as 1906, Ravel conceived the idea of creating, in agreement with Serge de Diaghilev (1872–1929), an “apotheosis of the waltz” in homage to the composer Johann Strauss (1804–1849), universally known for his waltzes. Eight years later, the First World War broke out, forcing him to postpone his compositional plans. The war and its disastrous consequences heightened the contrast and rupture between the Viennese courtly tradition of the nineteenth century and the barbarity of the modern world. This new perception led the composer to alter his original project. In his own words, he would compose a “fantastic and fateful whirling.” Everything is contained in that phrase: grandeur, decadence, destruction, and the infernal spiral of civilization. Ravel attributed great power to music: “Music may attempt anything, dare anything, and portray anything, provided that it charms and remains, in the end and always, music.” (From *Autobiographical Sketch*)
The work was finally premiered in 1920 before Diaghilev, Poulenc, and Stravinsky, in a version for piano. Upon hearing it, Diaghilev refused to stage *La Valse* with the Ballets Russes. His explanation? “Ravel, it is a masterpiece, but it is not a ballet. It is the painting of a ballet.” Stravinsky, for his part, remained silent throughout the dispute, and Ravel never forgave him. Their relationship, previously friendly, would thereafter be limited to professional exchanges. It was Ida Rubinstein—who had commissioned *Boléro*—who eventually succeeded in having it choreographed.
This choreographic poem for orchestra is dedicated to a friend of Ravel’s, Misia Sert, a pianist and muse to numerous painters, poets, and musicians of the early twentieth century. The work was composed in the Ardèche, at the home of his friend André-Ferdinand Hérold, where he stayed during 1919 and 1920. The original version was written for solo piano; it was later arranged for two pianos and for orchestra.
**ARGUMENT OF *LA VALSE*, PRINTED AT THE HEAD OF THE SCORE:**
“Swirling clouds occasionally reveal, through breaks in the mist, couples of waltzers. They gradually disperse: an immense ballroom filled with a whirling crowd comes into view. The scene gradually brightens. The light of the chandeliers bursts forth at fortissimo.
An Imperial Court, around 1855.”
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Maurice Ravel PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxMn2Jpn2cTfi8HDvB5XMeQ5