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La Valse - Poeme Choregraphique: Full Orchestra, Ensemble Works Study Score

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La Valse - Poeme Choregraphique Cover Image

La Valse - Poeme Choregraphique: Full Orchestra, Ensemble Works Study Score

By Maurice Ravel / arr. Clinton Nieweg, Nancy Bradburd

Item: 36-S002401

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Description
Maurice Ravel's (1875-1937) La Valse, poème chorégraphique pour orchestre (a choreographic poem for orchestra), has a somewhat storied history that has resulted in numerous interpretations of the work. An older idea that Ravel had as early as 1906 was to compose a work titled "Wien" (Vienna) as a tribute to the Waltz King Johann Strauss II. Before any work was completed, World War I intervened, and Ravel composed nothing as he served as an ambulance driver at the front. He returned to the idea when famous impresario and founder of Ballets Russes, Serge Diaghilev, commissioned a new ballet from Ravel in 1919. Upon hearing a piano reduction of the new composition, however, Diaghilev referred to the work as a "masterpiece," but rejected the work as "not a ballet. It's a portrait of ballet." A young Francis Poulenc, who was in the room at the time, reported that, "Ravel proceeded to give me a lesson in modesty which has lasted me all my life; he picked up his music quite quietly and, without worrying about what we all thought of it, calmly left the room." The rejection destroyed Ravel's and Diaghilev's relationship, and when they met one last time, Ravel's refusal to shake hands resulted in Diaghilev challenging the composer to a duel, though the Russian was talked down. Since its premiere in Paris on December 12, 1920, the work has found a regular home in the orchestra repertoire and was even staged as a ballet in the 1950s. But, despite Ravel's own attempt to put to bed the notion that the work is symbolic, many see a commentary on the post-war Europe after the war; a distorted version of a Viennese waltz that critiques Austro-German militarism and looks back at the world where the waltz dominated as a bygone era, one that the war destroyed. Whether a "dance of death" or what Ravel describes as just "a dancing, whirling, almost hallucinatory ecstasy, an increasingly passionate and exhausting whirlwind of dancers, who are overcome and exhilarated by nothing but 'the waltz,'" La Valse continues to have a place in the concert hall today. Instrumentation: 3(3dPicc).3(3dEH).2+BCl.2+CBsn: 4.3.3.1: Timp.Perc(6): Hp(2): Str (9-8-7-6-5 in set). Study score.

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Additional Details
Series: Kalmus Study Score Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887804-8
ISBN13: 978-1-63-887804-9
UPC: 735816387860
SKU: 36-S002401
Instrumentation: Full Orchestra, Ensemble Works

More about this title

About the Composer: Maurice Ravel

Maurice Ravel (1875-1937) was a French composer who refined orchestration to an almost scientific precision. His works balance impressionistic color with classical structure, and his mastery of instrumental texture influenced generations of composers and orchestrators. In the classroom and rehearsal room, his scores remain essential for teaching how clarity of line and harmonic sophistication can coexist with visceral, immediate impact.

Ravel composed relatively few large works during his lifetime, and each one reveals his meticulous approach to craft. He was equally comfortable writing for solo piano, chamber ensembles, and massive orchestral forces. His influence on 20th-century music education stems not from prolific output but from the extraordinary quality and pedagogical value of what he did write.

Why we love this

La Valse demands precision ensemble playing while rewarding orchestrators and arrangers who understand Ravel's thinking. The piece's trajectory from waltz pastiche to orchestral carnival creates natural dramatic arcs that keep audiences engaged, and the harmonic language stretches your musicians' ears without requiring avant-garde technique. This is a cornerstone work that belongs in any serious orchestra's library, and the study score format lets you examine exactly how Ravel achieves such orchestral coherence across a full score.

What to expect

La Valse begins as a delicate, nostalgic memory of Vienna's golden age, then gradually twists that memory into something grotesque and destabilizing. The waltz rhythms persist even as harmonies fragment and the orchestration becomes increasingly frenzied, creating an unsettling gap between form and content. By the final climax, the elegance has curdled into something almost violent, though the three-beat pulse never stops.

Who it's for

Conductors preparing a professional or advanced university orchestra for concert performance, and musicians studying orchestration and 20th-century compositional technique. This work also serves pedagogical conductors who want their ensembles to grapple with complex textures and rhythmic sophistication while remaining engaged by recognizable musical material.

How to get the most out of it

  • Establish the basic waltz pulse early and let it remain the metric foundation, even as the harmonies grow increasingly dissonant and the texture more complex. Ravel counts on that steady three-beat to make the later chaos legible.
  • Clarify which sections are rhythmic (driving the momentum forward) and which are textural (providing color and harmonic interest). Conductors often over-conduct the textural passages, losing the forward momentum Ravel built.
  • Balance the layering in the orchestration with surgical precision. Ravel rarely doubles instruments carelessly; when a line disappears or reappears, it's intentional. Blind spots in the texture become audible distractions.
  • Consider the piece's structural arc as one continuous acceleration rather than discrete sections. The temptation is to reset energy between major structural points, but the piece gains its real power through relentless intensification.

How to use it

Pair this with other 20th-century orchestral works to create a concert exploring how composers transformed or deconstructed traditional forms. Alternatively, program it as a centerpiece work that showcases your orchestra's ability to balance technical precision with expressive interpretation. The piece also works as a gateway to Ravel's larger orchestral catalog for ensembles ready to explore beyond the popular Bolero.

Skills your students will build

  • Reading complex, layered orchestral textures with multiple simultaneous rhythmic figures
  • Maintaining metric stability (waltz in 3/4) while responding to harmonic and textural shifts
  • Balancing transparency and blend in a densely scored full orchestra
  • Recognizing structural cohesion across a non-traditional form
  • Understanding orchestration as a compositional tool separate from harmonic or melodic content

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