nc33/multispan_quoref huggingface dataset:
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Answer: Britain, Sweden, Denmark, US, Canada, Spain, Austria, Italy
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What major city was the house the composer who's works in the 1920s were noticeably sparer in texture moved into in 1921 88 kilometres west of?
Answer: Paris
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: Where did the man who averaged one piece a year garden while outside of Paris?
Answer: Le Belvédère Ravel
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What countries did the man who created the ballet Les noces tour in the 1920s?
Answer: Sweden, Britain, Denmark, US, Canada, Spain, Austria, Italy
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What is the last name of the housekeeper who looked after the man who premiered La valse?
Answer: Revelot
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What is the name of the 1922 work by the man who only averaged one composition a year after the war?
Answer: Pictures at an Exhibition
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What was the name of the 1926 work by the man who completed La valse in 1920?
Answer: L'enfant et les sortilèges to a libretto by Colette
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What was the name of the 1924 work by the man who had a work rejected by Diaghilev?
Answer: Tzigane
Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy.

Question: What was the name of the 1927 work by the man who completed La valse in 1920?
Answer: Violin Sonata
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person whose themes are frequently modal?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person who considers himself a classicist in may ways?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person who often used traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person whose later music features the influence of jazz, as heard within conventional classical structures in the Piano Concerto and the Violin Sonata?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person in whose output there are few leading notes?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person whose works include allusions to Hebraic, Greek, Hungarian and gypsy themes?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What is the name of the person who wrote several short pieces paying tribute to composers he admired?
Answer: Ravel
Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude.

Question: What are the specific names of the four composers to whom Ravel wrote several short pieces paying tribute?
Answer: Borodin, Chabrier, Fauré, Haydn