Composed during 1932-33, the cycle of three songs, Don Quichotte à Dulcinée, fatefully became Maurice Ravel’s last composition. Having suffered a head injury in a car accident in 1932, Ravel began to suffer from aphasia-like symptoms. Composing became increasingly difficult and he was not able to put down on paper the musical ideas he heard in his mind. The song cycle, in fact, was not intended as such, but instead was to be the music for a film based on Miguel de Cervantes’s celebrated novel, starring the Russian bass Feodor Chaliapin and directed by G. W. Pabst, with lyrics provided by the French author Paul Morand. However, Ravel’s slow progress due to his weakening health meant he could not supply the music on time and Pabst eventually hired Jacques Ibert to score the film. The three songs that were completed, and that now make up the song cycle, were later published and were premiered on December 1, 1934 with baritone Martial Singher and Paul Perey leading the orchestra. Though the songs were an unintended farewell to music, it is somewhat fitting that they are infused with the Spanish style that Ravel grew up hearing as a child and permeate some of his most beloved compositions.
In the first song of the cycle, “Chanson Romanesque,” Don Quixote pledges his devotion to Dulcinea—he would send Sancho Panza to stop the world from turning, or tear the stars from the night sky, or set them in the heavens again, if any of these things displeased her. He only begs that she not reject, but if she did, he would bless her name as he dies. Ravel’s setting is lilting with an accompaniment imitating the guitar, and it is easy to imagine Don Quixote singing, instrument in hand, to the woman of his devotion. The vocal melody is charming and full of admiration, but at the same time with an air of resolve. The song unfolds in a rather strophic manner, with each verse a variation on the one before it. The music, however, subsides as Don Quixote softly and reverently speaks the name “Dulcinea.”Joseph DuBose
Classical Music | Baritone
Maurice Ravel
Chanson romanesque, from Don Quichotte à Dulcinée Play
Recorded on 08/06/2012, uploaded on 03/01/2013
Musician's or Publisher's Notes
Composed during 1932-33, the cycle of three songs, Don Quichotte à Dulcinée, fatefully became Maurice Ravel’s last composition. Having suffered a head injury in a car accident in 1932, Ravel began to suffer from aphasia-like symptoms. Composing became increasingly difficult and he was not able to put down on paper the musical ideas he heard in his mind. The song cycle, in fact, was not intended as such, but instead was to be the music for a film based on Miguel de Cervantes’s celebrated novel, starring the Russian bass Feodor Chaliapin and directed by G. W. Pabst, with lyrics provided by the French author Paul Morand. However, Ravel’s slow progress due to his weakening health meant he could not supply the music on time and Pabst eventually hired Jacques Ibert to score the film. The three songs that were completed, and that now make up the song cycle, were later published and were premiered on December 1, 1934 with baritone Martial Singher and Paul Perey leading the orchestra. Though the songs were an unintended farewell to music, it is somewhat fitting that they are infused with the Spanish style that Ravel grew up hearing as a child and permeate some of his most beloved compositions.
In the first song of the cycle, “Chanson Romanesque,” Don Quixote pledges his devotion to Dulcinea—he would send Sancho Panza to stop the world from turning, or tear the stars from the night sky, or set them in the heavens again, if any of these things displeased her. He only begs that she not reject, but if she did, he would bless her name as he dies. Ravel’s setting is lilting with an accompaniment imitating the guitar, and it is easy to imagine Don Quixote singing, instrument in hand, to the woman of his devotion. The vocal melody is charming and full of admiration, but at the same time with an air of resolve. The song unfolds in a rather strophic manner, with each verse a variation on the one before it. The music, however, subsides as Don Quixote softly and reverently speaks the name “Dulcinea.” Joseph DuBose
More music by Maurice Ravel
La Valse
Berceuse sur le nom de Gabriel Faure
Noctuelles from Miroirs
Daphnis and Chloé, Suite No. 2
Une barque sur l'océan, from Miroirs
Alborada del Gracioso, from Miroirs
Pièce en Forme de Habanera
Cinq Mélodies Populaires Grecques
Rhapsodie espagnole
Concerto No. 2 in D Major for Piano and Orchestra
Performances by same musician(s)
The Dodger, from Old American Songs
I Bought Me a Cat, from Old American Song
Wohin?, from Die schöne Müllerin, D. 795
Simple Gifts, from Old American Songs
Halt?, Die schöne Müllerin, D. 795
Am Feierabend, from Die schöne Müllerin, D. 795
Das Wandern, from Die schöne Müllerin, D. 795
Danksagung an den Bach, Die schöne Müllerin, D. 795
Long Time Ago, from Old American Song
Chanson à boire, from Don Quichotte à Dulcinée
Classical Music for the Internet Era™
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