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there are cypresses present. Pirates are seen running to and fro carrying plunder. More and more torches are brought, which illuminate the scene. Bryaxis commands that the captive be brought. Chloé, her hands tied, is led in by two pirates. Bryaxis orders her to dance. Chloé performs a dance of supplication. She tries to flee, but she is brought back violently. Despairing, she resumes her dance. Again she tries to escape but is brought back again. She abandons herself to despair, thinking of
Daphnis. Bryaxis tries to carry her off. Although she beseeches, the leader carries her off triumphantly. Suddenly the atmosphere seems charged with strange elements. Various places are lit by invisible hands, and little flames flare up. Fantastic beings crawl or leap here and there, and satyrs appear from every side and surround the brigands. The earth opens and the fearsome shadow of Pan is outlined on the hills in the background, making a threatening gesture. Everyone flees in horror except Chloé, who is given a wreath crown.
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approaches, and raises his head, placing her hands over his eyes. Daphnis thinks this is a game of Chloé’s but he recognizes
Lyceion and tries to pull away. As though inadvertently, she drops one of her veils. Daphnis picks it up and places it back on her shoulders. She resumes her dance, which, at first more languorous, becomes steadily more animated until the end. Another veil slips to the ground, and is again retrieved by Daphnis. Vexed, she runs off mocking him, leaving the young shepherd very disturbed. Warlike sounds and war cries are heard, coming nearer. In the middle ground, women run across the stage, pursued by pirates. Daphnis thinks of Chloé, perhaps in danger, and runs off to save her. Chloé hastens on in panic, seeking shelter. She throws herself before the altar of the Nymphs, beseeching their protection.
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her cheek, but with an abrupt motion
Daphnis pushes aside the cowherd and approaches Chloé affectionately. The youths intervene. They position themselves in front of Chloé and gently lead Daphnis away. One of them proposes a dance contest between Daphnis and Dorcon. A kiss from Chloé will be the victor’s prize. The group sarcastically imitates the clumsy movements of the cowherd, who ends his dance in the midst of general laughter. Everyone invites Daphnis to accept his reward. Dorcon comes forward as well, but he is chased off by the group, accompanied by loud laughter.
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As night falls, an unnatural light suffuses the landscape. A little flame shines suddenly from the head of one of the statues. The Nymph comes to life and descends from her pedestal, followed by the second and then the third Nymph. They consult together and begin a slow and mysterious dance. They notice
Daphnis, bend down and dry his tears. They revive him and lead him toward the large rock, and invoke the god Pan. Gradually the form of the god is outlined. Daphnis prostrates himself in supplication.
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Another shepherd crosses in the background. A group of herdsmen enters looking for
Daphnis and Chloé. They discover Daphnis and wake him. Anxiously he looks around for Chloé. She appears at last, surrounded by shepherdesses. They throw themselves into each other’s arms. Daphnis notices Chloé’s wreath. His dream was a prophetic vision. The intervention of Pan is manifest. The old shepherd Lammon explains that, if Pan has saved Chloé, it is in memory of the nymph
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The girls entice
Daphnis and dance around him. Chloé feels the first twinges of jealousy. At that moment she is swept into the dance of the youths. The cowherd Dorcon proves to be especially bold. Daphnis in turn seems upset. At the end of the dance, Dorcon tries to kiss Chloé. She innocently offers
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Voices are heard from off stage, at first very distant. A trumpet calls and the voices come nearer. There is a dull glimmer. The setting is the pirate camp on a very rugged seacoast, with the sea as the background. To the right and left is a view of large crags. A trireme is seen near the shore and
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A group of brigands burst on stage, capture the girl and carry her off. Daphnis enters looking for Chloé. He discovers on the ground a sandal that she lost in the struggle. Mad with despair, he curses the deities who were unable to protect the girl, and falls swooning at the entrance of the grotto.
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Morning at the grotto of the Nymphs. There is no sound but the murmur of rivulets produced by the dew that trickles from the rocks. Daphnis lies, still unconscious, at the entrance of the grotto. Gradually the day breaks. The songs of birds are heard. Far off, a shepherd passes with his flock.
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The laughter ceases at the sight of the radiant group formed by the embracing
Daphnis and Chloé. The group withdraws, taking along Chloé. Daphnis remains, immobile, as if in ecstasy. Then he lies face down in the grass, his face in his hands. Lyceion enters. She notices the young shepherd,
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of the whole, was issued in 1913 and is particularly popular. (When the complete work is performed it is more often in concert than staged.) Ravel adhered to his description of the music in his formal titling of the suites:
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to make two orchestral suites, which can be performed with or without the chorus. The first was prepared as early as 1911, that is, before the staging. The second, essentially
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give it musical unity. The music, some of the composer's most passionate, is widely regarded as some of his best, with extraordinarily lush harmonies typical of the
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Chloé. Scott
Goddard in 1926 published a commentary on the changes to the story Fokine had to apply in order to make the scenario workable.
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movement; even during the composer's lifetime commentators described it as his masterpiece for orchestra.
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Enrico
Cecchetti in costume as the old shepherd "Lammon" for the premiere of Ravel's Daphnis et Chloé
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This article is about the composition by
Maurice Ravel. For the operetta by Jacques Offenbach, see
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Goddard, Scott (July 1926). "Some Notes on Maurice Ravel's Ballet "Daphnis et Chloé". I".
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Fragments symphoniques de ‘Daphnis et Chloé’ (Lever du jour—Pantomime—Danse générale)
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Several pirates from the Ballets Russes premiere of Ravel's Daphnis et Chloé. 1912.
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Fragments symphoniques de ‘Daphnis et Chloé’ (Nocturne—Interlude—Danse guerrière)
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Ravel began to write the score in 1909 after a commission from impresario
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thought to date from the 2nd century AD, recounting the love between the
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Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
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Orenstein, Arbie (1967). "Maurice Ravel's Creative Process".
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Hill, Edward Burlingame (January 1927). "Maurice Ravel".
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273:is Ravel's longest work. Four discernible
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849:from Part III for its opening theme. The
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1501:Works based on Daphnis and Chloe
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859:is similar to the same passage.
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1323:Pavane pour une infante défunte
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194:from a pastoral romance by the
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269:At almost an hour long,
214:Composition and premiere
173:symphonie chorégraphique
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974:The Harvard Independent
811:Lever du jour (Sunrise)
115:Original ballet company
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943:The Musical Quarterly
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1374:Histoires naturelles
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1042:List of compositions
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842:By the Sleepy Lagoon
551:Strings in ten parts
343:(doubling 3rd flute)
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1209:Piano Concerto in G
881:Music & Letters
831:American trumpeter
265:Musical description
242:by Fokine, and the
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73:Maurice Ravel
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63:Michel Fokine
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59:Choreographer
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53:, Paris 1912.
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789:Introduction
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520:Glockenspiel
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240:choreography
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1432:Les Apaches
1197:Concertante
1180:Shéhérazade
837:Eric Coates
833:Harry James
367:cor anglais
208:shepherdess
151:Created for
99:8 June 1912
26:(Offenbach)
1465:Categories
1426:The Bolero
1420:Ravel Peak
1288:Jeux d'eau
1273:Solo piano
1102:Orchestral
863:References
851:title song
738:media help
681:bacchanale
677:bacchantes
498:Tambourine
493:Field drum
463:Snare drum
449:Percussion
355:alto flute
295:Partie III
275:leitmotifs
236:Léon Bakst
171:is a 1912
137:Léon Bakst
125:Characters
47:Léon Bakst
687:Structure
580:offstage.
573:Wordless
525:Xylophone
488:Bass drum
468:Castanets
431:trombones
385:clarinets
333:Woodwinds
291:symphonie
247:conducted
1450:Category
1329:Sonatine
1131:La valse
1094:(ballet)
1078:(ballet)
1062:(ballet)
805:Part III
658:Part III
593:Scenario
564:♭
508:Triangle
473:Crotales
424:trumpets
397:bassoons
379:clarinet
376:♭
222:for his
204:goatherd
95:Premiere
79:Based on
1398:Related
1316:Miroirs
1263:Tzigane
1225:Chamber
1215:Tzigane
1152:Miroirs
1086:(opera)
1070:(opera)
847:Sunrise
783:Part II
641:Part II
545:Strings
515:Celesta
503:Tam-tam
478:Cymbals
456:Timpani
341:piccolo
198:writer
181:parties
143:Setting
1117:Boléro
901:726147
899:
746:Part I
673:Syrinx
619:Lesbos
598:Part I
584:
348:flutes
200:Longus
185:ballet
133:Design
83:Longus
1345:Vocal
1051:Stage
897:JSTOR
578:choir
556:Other
533:harps
418:horns
410:Brass
361:oboes
232:Paris
196:Greek
107:Paris
69:Music
575:SATB
437:tuba
426:in C
257:and
157:and
951:doi
924:doi
889:doi
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623:Pan
249:by
230:in
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