Daphnis and Chloe in Full Score Cover Image

Daphnis and Chloe in Full Score: Full Orchestra Full Score

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Daphnis and Chloe in Full Score Cover Image

Daphnis and Chloe in Full Score: Full Orchestra Full Score

By Maurice Ravel

Item: 06-258262

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Description
A rich, musical setting of the Greek novel by Longus. Commissioned by Diaghilev for the Ballets Russes, it premiered in Paris in 1912. Ravel's constant striving toward perfection in form and style is evident in this moving work of complex beauty. Reproduced from the Durand et Cie edition, Paris.

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Additional Details
Series: Dover Edition
Publisher: Dover Publications
ISBN10: 0-486-25826-2
ISBN13: 978-0-486-25826-3
UPC: 9780486258263
SKU: 06-258262

More about this title

About the Composer: Maurice Ravel

Maurice Ravel (1875, 1937) was a French composer who refined orchestration into an art form. His meticulous approach to harmony, timbre, and structure made him one of the most influential composers of the twentieth century, and his influence on how musicians think about color and balance in orchestral writing persists in conservatories worldwide.

Ravel's output was smaller than his contemporaries', but each work reflects his obsessive pursuit of craft. He rewrote passages dozens of times, rejected commissions, and never settled for less than his exacting vision. For conductors and students, this means every note in the score serves a purpose.

Why we love this

Daphnis and Chloe sits at the intersection of ballet spectacle and symphonic depth. The score demands everything from an orchestra, transparent ensemble writing, precise rhythmic control, sensitive balancing of texture, and rewards disciplined rehearsal with moments of transcendent beauty. Programming it signals artistic ambition and gives musicians a masterclass in twentieth-century orchestration.

What to expect

The score unfolds like a dream of ancient Lesbos. Shimmering string textures give way to pastoral woodwind exchanges, and the orchestra shifts between intimate detail and sensuous swells. By the final sunrise section, the accumulated harmonies create a sense of arrival that feels inevitable rather than imposed.

Who it's for

This is for orchestras with strong sectional discipline and conductors comfortable with impressionistic harmonic language. The technical demands extend across the ensemble; winds and brass need facility with sustained tones and subtle entrances, and strings must navigate both sustained harmonies and rapid figurations without losing focus.

How to get the most out of it

  • Study the Durand score alongside a recorded version to hear how subtle dynamic gradations and timbral shifts create narrative momentum across long phrases. The piece flows through color more than obvious climax.
  • Establish clear beat patterns for the complex rhythmic unisons in the middle sections; Ravel's syncopations sit differently against the pulse than romantic-era equivalents, and players need visual confidence to stay locked.
  • Balance the role of divisi strings against woodwind solos carefully. Ravel layers independent lines that must remain audible; this isn't about blending into homogeneity but about transparent layering.
  • Rehearse the final sunrise section with attention to crescendo shape rather than dynamic target. The climax builds over many bars, and premature volume peaks flatten the arc.

How to use it

Daphnis and Chloe anchors a concert exploring twentieth-century orchestral expansion. Pair it with works from different schools of that era to show how Ravel's approach differed from his contemporaries. It also works as a season centerpiece that justifies extended rehearsal time and showcases an orchestra's technical maturity.

Skills your students will build

  • Reading complex divisi string and woodwind writing
  • Sustaining pitch accuracy and ensemble blend through extended pianissimo passages
  • Recognizing impressionistic harmonic movement and tonal centers
  • Balancing layered independent melodic lines
  • Executing rapid dynamic transitions and gradual crescendos over multiple bars
  • Understanding orchestral color as a structural element rather than decoration

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