Maurice Ravel was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The first performance of the original piano duet version of Ma mère l’oye took place at the Paris Salle Gaveau on April 20, 1910. Ma mère l’oye is scored for two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets, two bassoons (2nd doubling contrabassoon), two horns, timpani, bass drum, cymbals, triangle, tam-tam, xylophone, jeu de timbres à clavier, harp, celesta, and strings. Approximate performance time is sixteen minutes.

Maurice Ravel’s Ma mère l’oye (Mother Goose), subtitled Five Pieces for Children, began as a series of miniatures for piano four hands. Ravel composed the duets as a surprise gift for Mimi and Jean, children of his dear friends, Ida and Jean Godebski. Ravel loved to play with young Mimi and Jean, and often delighted them with his animated readings of various Mother Goose tales.

After composing the original piano work, Ravel orchestrated Ma mère l’oye. Finally, Ravel was commissioned to create a Ma mère l’oye ballet that received its premiere at the Théâtre des Arts in Paris on January 28, 1912. For the ballet, Ravel added a Prelude, another scene, and interludes connecting the various episodes.

Ravel noted: “(m)y intention of awakening the poetry of childhood in these pieces naturally led me to simplify my style and thin out my writing. Despite Ravel’s typically self-effacing posture, there is nothing simple about the magical atmosphere and charm he conjures in these exquisite miniatures, particularly when heard in their orchestral guise.

This concert features Ravel’s orchestration of the original five-movement work.

I. Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty): Delicate music, featuring woodwinds and muted strings, set the stage for the remaining tales.

II. Petit Poucet (Hop-o’ My Thumb): In the preface to this movement, Ravel includes the following excerpt from the Perrault fairy tale:

"He believed that he would easily find his way by means of the breadcrumbs that he had strewn wherever he had passed; but he was greatly surprised when he could not find a single crumb; the birds had come and eaten them all."

III. Laideronnette, Impératrice des pagodes (Laideronnette, Empress of the Pagodas): A beautiful princess is horribly transformed by an evil witch (later she is rescued by a prince). In his score, Ravel includes the following excerpt from the fairy tale:

"She undressed and went into the bath. The Pagodas and Pagodines began to sing and play on instruments; some had theorbos made of walnut shells; some had violas made of almond shells, for they were obliged to proportion the instruments to their figure."

IV. Les entretiens de la Belle et de la Bête (Conversations of Beauty and the Beast): The Beauty takes note of the Beast’s kind heart that makes him, somehow, less unattractive. The Beast pleads with the Beauty to marry him. At first the Beauty declines, but finally agrees. Suddenly, the Beast disappears and is replaced by a handsome prince “more beautiful than Cupid.”

V. Le Jardin féerique (The Fairy Garden): Ma mère l’oye concludes with a glorious evocation of the awakening of the Fairy Garden. The strings introduce a simple, yet hauntingly affecting melody. The music grows in splendor, as Ravel’s Mother Goose reaches its shimmering, elegant resolution.