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M R
AURICE AVEL
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Routledge Music Bibliographies
SERIES EDITOR: BRAD EDEN
COMPOSERS Christoph Willibald Gluck, Tomás Luis de Victoria (1998)
Second Edition (2003) Eugene Casjen Cramer
Isaac Albéniz (1998) Patricia Howard
Richard Wagner (2002)
Walter A. Clark
Paul Hindemith (2005) Michael Saffle
C. P. E. Bach (2002) Stephen Luttmann
Adrian Willaert (2005)
Doris Bosworth Powers
Charles Ives (2002) David M. Kidger
Samuel Barber (2001) Gayle Sherwood
Wayne C. Wentzel Scott Joplin (1998) GENRES
Béla Bartók, Second Edition Nancy R. Ping-Robbins Central European Folk Music
(1997) Zoltán Kodály (1998) (1996)
Elliott Antokoletz Mícheál Houlahan and Philip V. Bohlman
Philip Tacka
Vincenzo Bellini (2002) Chamber Music (2002)
Stephen A. Willier Franz Liszt, Second Edition John H. Baron
(2004)
Alban Berg (1996) Choral Music (2001)
Michael Saffle
Bryan R. Simms Avery T. Sharp and
Guillaume de Machaut (1995) James Michael Floyd
Leonard Bernstein (2001) Lawrence Earp
Paul F. Laird Ethnomusicology (2003)
Felix Mendelssohn Bartholdy Jennifer Post
Johannes Brahms (2003) (2001)
Heather Platt John Michael Cooper Jazz Research and
Performance Materials,
Benjamin Britten (1996) Giovanni Pierluigi da Second Edition (1995)
Peter J. Hodgson Palestrina (2001)
Eddie S. Meadows
Clara Marvin
Elliott Carter (2000) The Musical (2004)
John L. Link Giacomo Puccini (1999) William Everett
Linda B. Fairtile
Carlos Chávez (1998) Music in Canada (1997)
Robert Parker Maurice Ravel (2005) Carl Morey
Stephen Zank
Frédéric Chopin (1999) North American Indian Music
William Smialek Gioachino Rossini (2002) (1997)
Denise P. Gallo Richard Keeling
Aaron Copland (2001)
Marta Robertson and Alessandro and Domenico Opera, Second Edition (2001)
Robin Armstrong Scarlatti (1993) Guy Marco
Carole F. Vidali
Frederick Delius (2005) The Recorder, Second Edition
Mary Christison Huismann Camille Saint-Saëns (2003) (2003)
Timothy S. Flynn Richard Griscom and
Gaetano Donizetti (2000) Heinrich Schenker (2003) David Lasocki
James P. Cassaro
Benjamin Ayotte
Serial Music and Serialism
Edward Elgar (1993) Jean Sibelius (1998) (2001)
Christopher Kent Glenda D. Goss John D. Vander Weg
Gabriel Fauré (1999) Giuseppe Verdi (1998) String Quartets (2005)
Edward R. Phillips Gregory Harwood Mara E. Parker
M R
AURICE AVEL
A G R
UIDE TO ESEARCH
STEPHEN ZANK
ROUTLEDGE MUSIC BIBLIOGRAPHIES
ROUTLEDGE
NEW YORK • LONDON
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Published in 2005 by
Routledge
Taylor & Francis Group
711 Third Avenue
New York, NY 10017
Published in Great Britain by
Routledge
Taylor & Francis Group
2 Park Square
Milton Park, Abingdon
Oxon OX14 4RN
Copyright © 2005 by Stephen Zank.
Routledge is an imprint of the Taylor & Francis Group.
All rights reserved. No part of this book may be reprinted or reproduced or uti-
lized in any form or by any electronic, mechanical, or other means now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the author.
10 9 8 7 6 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Zank, Stephen, 1950–
Maurice Ravel : a guide to research / Stephen Zank.
p. cm. — (Routledge music bibliographies)
Includes bibliographical references, discographies, and indexes.
ISBN 0-8153-1618-6 (hb : alk. paper)
1. Ravel, Maurice, 1875–1937—Bibliography. I. Title. II. Series.
ML134.R19Z36 2004
016.78'092—dc22
2004017216
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In Memory of Jane Morss, Austen Williams, and William Austin
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Preface
In this volume, I follow a somewhat more bibliographic format than that found in
other distinguished contributions to the series, proposing a more mechanical
sense of orientation than frequently encountered via author-determined topics.
Categories such as “relations with others,” for instance, have always struck me as
problematic — that is, what constitutes a “relation,” how are the “others” chosen,
etc. Moreover, however carefully chosen, the materials found within such cate-
gories often differ widely in format and provenance.
I have tried, therefore, to provide some sense of both bibliographical and top-
ical organization from the beginning. My reasons for doing so are aesthetic as
well as mechanical, deriving, on the one hand, from some characteristically gen-
erous conversations with the late William Austin and, on the other, from more
than fifteen years of teaching on both the undergraduate and graduate levels. The
latter has only reinforced the importance of Professor Austin’s remarks to me
some time ago about the challenges of structuring one’s research responsibly,
especially within larger areas of inquiry such as (in this case) those pertaining to
the great French composer Maurice Ravel.
Austin believed that meaningful research stemmed most often from a desire to
“get closer, closest, if possible” to a specific work or works and, hence, to their
creator — an aesthetic motivation about which there should be no embarrass-
ment. Embedded in such enthusiasm, however, would be certain methodological
obligations that are mechanical by nature: the biographies or “Life and Works” at
hand might take one a good distance, but in order to move closer one would have
to navigate a wider spectrum of formats, and then — if possible — move on to
primary sources. The investigation, then, of as many different bibliographic for-
mats as possible from the beginning would provide a reasonably strategic means
to an aesthetic end, the meaningful advancement of a discourse in one’s chosen
topic.
This book, hence, is divided essentially into three parts: (1) an historically
oriented and contextual introduction, (2) a critical and informed distillation of
the enormous secondary literature concerning Ravel in the major bibliographic
formats and Western research languages from the time of the composer’s death
until the turn of the 21st century, and (3) a critical and informed interpretation
vii
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viii Maurice Ravel: A Guide to Research
of contemporary criticism and reception (i.e., Ravel’s own musical criticism and
criticism of Ravel and his major works during his lifetime), followed by a cata-
log of works and illumination of the composer’s correspondence and musical
manuscripts in the major research centers worldwide holding primary sources.
Nearly all of the materials are presented in ascending historical order, suggest-
ing by admittedly contrived implication that we might wish to “go back” as far
as possible from our own particular moment in time to consider what has come
before as acutely as is possible.
The catalog of works has been updated as much as possible since Arbie Oren-
stein’s meticulous work of the 1970s and 1980s, and it includes — uniquely —
cross references to both the secondary literature and to the contemporary recep-
tion of individual works during Ravel’s lifetime. As in other contributions to this
series, limitations and choices have been unavoidable, and I assume the responsi-
bility for having made them, as well as for the mistakes found therein. May I offer
my heartfelt apologies in advance: A handful of the more recent and valuable con-
tributions I have surely missed, my previous databases having ballooned to more
than 2000 items several times over in the past several years. I hope that my prun-
ing might nonetheless be perceived as reasonably prudent, if not infallible. It was,
I admit, personal.
My deepest gratitude goes to my teacher Arbie Orenstein, Professor of Music,
Queens College, The City University of New York, Chevalier de la Légion d’Hon-
neur and great Ravel scholar of the 20th century. His generosity of spirit and
guidance at considerable distance over many years have been both inspiring and
sobering: Ars longa, vita brevis.
I am also deeply grateful to Richard Carlin, Executive Editor for Routledge in
New York, for having allowed me (repeatedly) the time to complete this work. His
patience, I fear, will be rewarded only in the next life, but for those of us whom he
has helped in this one, enough said. Also, Shannon McLachlan, Editor for Music
at Garland-Routledge, has given me an inordinately generous amount of time and
excellent criticism, which I promise to repay in the next life as well. Given the
different languages and shifting, often interdisciplinary vocabularies, I have been
extremely fortunate to have found such patient and discriminating help in copy-
editing from Sarah Nicely Fortener of Chicago and Gail Renard in Florida. Thank
you, Sarah, and thank you, Gail.
I am honored to acknowledge the assistance of Mme Catherine Massip, direc-
tor of the Music Division, Bibliothèque National de France; Jon Newsom and the
music staff of the Library of Congress in Washington, D.C.; J. Rigbie Turner of
the Pierpont Morgan Library in New York; Vincent Giroud of the Beinecke Rare
Books and Manuscripts Library at Yale; and Dell Hollingsworth of the Harry Ran-
som Humanities Research Center at the University of Texas, Austin. I thank the
Research Board of the University of Illinois for its support, and I thank my senior
colleagues in Musicology, John Hill, Tom R. Ward, and Donna Buchanan, as well
as those in the University of Illinois Libraries (Don Krummel, Richard Griscom,
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Preface ix
Marlys Scarborough, Chris Pawlicki, and the late Leslie Troutman). I also thank
Sarita Levine of the Department of the Navy, Washington, D.C., Margot Resjkind
of Montréal, and Erin Mulgrew of Baltimore.
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Contents
PREFACE vii
I CONTEXTS 1
Biographical Essay 3
Historical Chronology 21
II LITERATURE 37
Books and Monographs (B1–B206) 39
BIOGRAPHY, LIFE AND WORKS, STYLE STUDIES 39
SPECIFICALLY FOCUSED STUDIES 52
Works — Repertories and Genres 52
Works — Individual 55
Performance Practice 57
Correspondence 58
Reception 60
HELPFUL CONTEXTUAL STUDIES 61
ACADEMIC STUDIES 78
Ph.D. Theses and Dissertations 78
Performance Theses, Dissertations, and/or Documents 83
REFERENCE WORKS AND CATALOGS 88
Ravel’s Music 88
Discographies 88
Exhibition and Auction Catalogs (Regarding Primary Sources) 89
Collective Volumes (C1–C32) 93
CONTINUING SERIES 93
REMINISCENCES, HOMAGES, COMMEMORATIVE WORKS 93
WORKS, STYLE, AND/OR AESTHETICS 96
EXHIBITIONS 98
CONFERENCES 98
CORRESPONDENCE 99
RECEPTION 99
DISCOGRAPHIES 100
MISCELLANEOUS 100
xi
