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• Bolero-Introduction; cue to unadorned Bolero rhythm, Part 1
• Bolero rhythm, Part 2: an extended variation of Part 1
• 'Motto' rhythm complete (instrumentation will change on each new hearing)
• But here we have snare drums and plucked violas and cellos
• Section 1: Introductin of 'the theme' (the only one in the piece) by solo flute
• Flute continues with part 2 of theme
• Section 2: Complete statement of theme by clarinet as flute joins 'motto' group
• Introduction of 'discordant' harp into the unfolding picture
• Section 3: Bassoon intrudices closely related variant of theme
• . . . but then veers upwards, slowing rhythm and introducting new syncopation
• Section 4: 'Petite' E flat clarinet takes over theme, including variants
• Section 5: Oboe d'amore takes over theme but returns to its original form
• Section 6: Theme now shared by two instruments: muted trumpet and flute
• Section 7: Tenor saxophone takes Theme as trumpet replaces horn in 'motto'
• Section 8: Theme taken by soprano saxophone, 'espressivo'
• Section 9: Theme: celeste, piccolos and horn; Motto: flute and French horn
• Section 10: Theme: Oboes, horns, clarinets; Motto: plucked violas and violins
• Section 11: Theme taken by First Trombone, complete with jazzy slides
• Section 12: Theme: flutes, oboes, clarinets, sax; Motto: bassoons, horns, trumpets
• Section 13: Violins at last take the main tune, joining massed winds
• Section 14: Violins divide into four proups, each 'double-stopping.'
• Section 15: Trumpet, trombone 2 and tuba join the foreground
• Section 16: First trombone and soprano saxophone 'rejoin' theme
• Section 17: Fortissimo; all strings 'double-stopping'; trumpets added
• Section 18: Entire orchestra now employed, 'as loudly as possible'
• Section 19: Sudden, amazing change of key, lurching from C to E major
• Section 20: Key now lurches back to C, as jazzy trombones whiningly protest
• Cue to complete performance
• Boléro
• Pavane de la Belle au bois dormant-Opening figure on flute; rising, falling, and then reeated
• Same again, with emphasis on delicacy of scoring
• Answeing variant, accompanied by plucked double basses
• Reminder of opening figure
• . . . and now its rhythmical mirro image, or almost. . . .
• Andwering Phrase 2: a near-inversion, over 'James Bond' accompaniment
• Pivotal Phrase3, reversing direction but keeping rhythm of Phrase 2
• Reprise of Phrases 1 and 2, but with new accompaniment
• Further Reprise of Phrase 2, now on violin, accompanied by harp
• Pavane
• Petit Poucet (Tom Thumb)-Introduction; Opening, with multi-metre rising scales from muted violins
• Changes of metre continue as solo oboe introduces Theme One
• Oboe yields to Cor Anglais for Theme Two, against lover (still muted) strings
• Theme One returns, shared by clarinet and flute; muted horn added to accopaniment
• 'Motto' rhythm dominates as intensity increases from lower strings to full orchestra
• Fear subsides as Theme Two returns, again in Cor Anglais but now in a different key
• Sensational sound effects evoke a wood at night, with screeches, cuckooing etc.
• Texture thins; Theme One returns, delicately scored for strings and piccolo
• The main part of movement ends, with waltz-like march (!), featuring flute
• Petit Poucet
• Laideronnette, Imperatrice des Pagodes-Introduction; opening bars, followed by Theme One
• Oriental-orchestral equivalent of an imperial telephone bell
• . . . oboe 'answers' with a very slightly varied version of Theme One
• Expanded derivative of the 'telephone bell
• Fragments of theme in flutes and cor anglais, with 'James Bond' tag in violins
• 'Gamelan' music from flute and piccolo, accompanied by harp, xylophone and strings
• Arrival of Empress; upper strings yield to winds, celeste, harp and (very discreet) gong
• Laideronnette, Imperatrice des Pagodes
• Les entretiens de la Belle et de la Bete- opening
• Characteristic pattern of two short phrases answered by a long one
• Clarinet, flutes and violas, with 'sighing' figure derived from downward string motif
• Varied reprise of opening, entry of the 'Beast' (contra-bassoon); 'Watch it! Watch it!'
• Again the 'Beast' growls; again the cautious warning 'Watch it! from the winds
• Derivative of Beauty's Theme from flute, combined with 'Caution motif' in strings
• 'Beast's theme' rises in pitch with each successive 'growl' (representing hope?)
• 'Beauty', 'Beast' and 'Caution' motifs all combine simultaneously
• 'Beast' (contra-bassoon) climbs ever higher, handing over to bassoon proper
• Harp's upward glide heralds the moment of transformation; love song, fear, release
• Les entretiens de la Belle et de la Bete
• Le jardin feerique-Introduction; Opening bars are unfuuuuuuuuurled by the strings alone
• The rhythmic basis, and its guises. First, a question: 'Where went my childhood?"
• The question intensified: 'Oh where went . . . my childhood?"
• The answer, with a falling inflection: 'Gone is your childhood.'
• The plea: 'Bring back my child-hood!'
• The response: 'Seek in . . . your mem'ry. There it . . . will be.'
• Ravel's use of tone colour to change the feeling of the music
• Further illustration of the same point
• Continued
• The nobility of the strings
• Bells evoked by French horns; the final, opulent, moving climax of the whole suite
• Le jardin feerique