Provides insight into Ravel’s elusive creative process by discussing his usage of works by other composers as well as self-borrowing. Reveals that the “Habañera” from Rapsodie espagnole is derived from the early piano set Sites auriculaires, and that sections of L’Enfant et les sortilèges are derived from the unfinished opera La Cloche engloutie. Additionally, Ravel used a movement by François Couperin as model for the “Forlane” movement from Le Tombeau de Couperin. The article includes extensive facsimiles of autograph scores.

Works: Ravel: Rapsodie espagnole (296), L’Enfant et les sortilèges (321-22), Le Tombeau de Couperin (328-29).

Sources: Ravel: Sites auriculaires (296-99), La Cloche engloutie (317-22); François Couperin: Concerts royaux (328-29).

Index Classifications: 1900s

Contributed by: Keith Clifton